In his new, organically growing body of work, "In between >land and sea<" Roseport abandons the often Rothkosian tableaux of Transcendental Tranquility.

The subjects he now captures had been pushing him in the back for years. He now records them in a hard, sometimes almost graphic - without however seeking abstraction- black and white photography, in which details play the leading role.

The brutally cut cliffs, gently rolling dunes, and swaying grasses fill him with just as much awe as the immense bodies of water he photographs in Transcendental Tranquility. Their immensity, their energy, even the threat that sometimes literally emanates from them, their creation, in a relentless process, worked on him more and more deeply, until he turned the camera and let the conversations of the structures drawn by the elements enter him and let them tell their stories in a closed intimacy.

Those stories of relentless struggle in an uneven battle were captured in what he calls a temporary reality, for erosion by wind, waves, water, and frost constantly changes what he captures. What is now is soon gone and different. Nature tirelessly cuts and models her works of art.

In Roseport's rendering of them, a threatening and liberating atmosphere constantly lurks. Greedy use of harsh black tones results in a powerful visual language in the Birling Gap works. Soft musing sounds emerge when viewing the dune top in Malo-les-Bains. Dreamy desolation permeates the perception of the wooden structures placed by human intervention and newly shaped by nature in Cuckmere Haven and the bunkers on Leffrinckoucke beach.