Gallery edition

TRANSCENDENTAL TRANQUILITY

Dirk UKIYO
IN BETWEEN >LAND AND SEA<

roseport



Dirk roseport

TRANSCENDENTAL TRANQUILITY
UKIYO

IN BETWEEN >LAND AND SEA<





dirk roseport
selections &
awards
solo exhibitions
group exhibitions

°1955 >Selected for the Flanders The Loft gallery(B - 2015) Museum M - Leuven(B - 2017)
Belgium Photography Tour 2017-2019 Flanders Photography Tour Knokke Photography Festival
After a start in the >Selected for the Museum M 19 exhibitions (B - 2017/2019) (B - 2018)
financial world, Roseport soon “There is always more to see” Graze gallery(UK - 2017)) Photography Museum Antwerp
moved on to the advertising exhibition(B - 2017) (B - 2019)
sector, where he was head of >Selected for the Knokke NF-Art gallery(B - 2018) Hi-Rez gallery Oostkamp
creation in several Belgium Photography festival “Unknown Gallery del Campo(NL - 2018) (B - 2018)
based US advertising agencies. Masterpieces”(B - 2018) Namur Fine Art Fair(B - 2018) De Factorij Brussels(B - 2018)
He worked closely with >Selected for the Brussels “My Gallery Van Campen & Rochtus
professional photographers at home is where the heart is” (B - 2020/2021)
home and abroad, got inspired exhibition(B - 2018)
by the work they did and >Honorable mention at the ND July 2020 - Antwerp
learned from them on the sets. Awards(2017) October 2020 - Knokke
>Certificate of achievement at December 2020 - Knokke
the Kuopio Photo International December 2020- Antwerp
competition(2017) January 2021 - Knokke
>3rd Place Winner at the March 2021 - Antwerp
Umbra International Photography May 2021 - Knokke
Awards(2018) July 2021 - Knokke
>Winner Minimalist Photographer
of the Year(2019) vcrb gallery
>Triple nomination in the 7th (B - 2021/...)
Fine Art Photography
Competition in the categories September 2021 - Antwerp
Seascape, Fine Art and Night December 2021- Knokke
photography(2021) June 2022 - Antwerp
>Featured in #18 of the
ALL ABOUT PHOTO MAGAZINE
Best in BW photography 2021
with the Closer To The Gods
project

[email protected]
www.dirkroseport.com
www.instagram.com/dirkroseport/

FINISH
DIMENSIONS
editions

TRANSCENDENTAL TRANQUILITY UKIYO IN BETWEEN >LAND AND SEA<

Transcendental Tranquility Dimensions: Ukiyo comes printed on archival In between >land and sea<
comes printed on Photo Rag 30X45cm - edition of 7 quality Platine Fibre Rag 310g comes as C-Prints with a
Ultra Smooth by Hahnemühle 50X75cm - edition of 7 - 100% cotton - by Canson, digital white passe-partout,
308g, an extra white 100% 75X150cm - edition of 5 mounted on 3mm Dibond and mounted on dibond behind UV-99
cotton-based paper with an 100X150cm - edition of 5 finished with 3mm Diasec. anti-reflective museum glass,
extreme soft surface, 150X150cm - edition of 3* in a black stained wood frame.
guaranteeing archival 150X225cm - edition of 3* Dimensions:
standards. 56/112/56cm - edition of 3* Triptych Dimensions:
With its premium matt ink * limited selection 3 X 75X150cm - edition of 9. 32,6X47,6cm
coating, it meets the highest 50X72,5cm
industry standards regarding Large format prints(>75cm)come + subject specific dimensions
density, color gamut, color mounted on dibond. Edition of 7.
graduation and image sharpness, Smaller prints come with a
while preserving that very digital white passe-partout,
special touch and feel of mounted on dibond in a black
genuine paper. stained wood frame.
All these characteristics help
every print to show an
impressive depth of color,
subtle gradients and unique
softness and support the
painterly aspect of Roseport’s
photography.

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TRANSCENDENTAL Seas and oceans are central to Dirk Roseport’s work. Dirk Roseport（ディレク・ローズポート）の被写体の多くは
TRANQUILITY His Transcendental Tranquility  project is a contemporary 海、オーシャン。
reference to a romantic tradition within painting: that of
the artist/photographer shunning the turbulence of the 21st 「Transcendental Tranquility - オーシャンズ・プロジェクト」
century. では、絵画の空想的な描写を現代的に表現している：それ
He likes to let the ocean do its thing and strips perception こそが、21世紀の混乱とは無縁なアーティスト/写真家の
down to its essence. 表現。
What we see, however, is much more than the mere observation
of water, horizon, and sky. 海の自然な営みの中から、一瞬の輝きを切り取る。作品で
The alienation created by his way of working evokes a 捉えるのは水、地平線、空の観察描写ではない。
twilight zone that invites reflection and interpretation.
The experience is simultaneously pleasant and painfully 作品が生み出す疎外感は、己を見つめ直し、理解させる
elusive, reducing time to nothing, disappearing into obli- 未知の空間を作る。それは心地よく、同時にとらえどころが
vion. なく、無心に瞑想させる。
The oceans are often no longer recognizable, and they become
Rothkosian color impressions. But his goal is not to show 海はもはや海ではなく、Rothkosian カラーが印象的なもの
an ocean; it is to create a scene that generates a state となる。見せたいものは海ではない。それは、悩みや精神
of calm, in which what is perceived as troublesome in the 的な苦痛を取り払い、安らぎを感じるシーン。
psyche falls away.
The images create an all-encompassing feeling of po- 作品は無力感と同時に開放感を創出させる。見つめる度
werlessness, while also being surprisingly liberating. に違って見える。常に新たな現実が作られる。
By gazing at the images for a longer time, one will begin
to see how they change from moment to moment, as if a new 連続的な配置と繰り返される構成 - 水と空が地平線で半
reality is constantly being created. 分にスライスされる - それが瞑想的な状態を呼び起こす。
The sequential placement in a series and the repetitive
nature of the composition – water and sky sliced in half by 水平線を中央に配置する基本構成は、写真のグラデーシ
the horizon – evoke an almost meditative state. ョンと伝統的な表現を同時に捉え、分析させ、見え方を変
The deliberately centralized placement of the horizon(tal える。
line), which is an elemental component of the composition
in many of the images, simultaneously imposes and decon- 色と色合いの微妙な変化で空と海を区別し、その遷移を
structs any form of hierarchy and convention within photo- 抽象的に表現される。層状の興味深い画像は、見る人を
graphy and in the way it is viewed. 引き込み、現代社会に欠けている安らぎが得られる沈黙を
Subtle changes in color and hue separate the sea from the 醸し出す。そうして、過剰な刺激の多い現代社会でも落ち
sky and abstract the transition between the two. The laye- 着きを取り戻し、穏やかな瞬間が得られる。
red, intriguing images exude a deceptive silence, in which
the observer drowns and obtains a sense of peace that is so 何年もかけて発表されてきた Transcendental Tranquility
often lacking in our modern lives. The result is moments は、ユニークで終わりのない、感情をかき立てる画像シリー
of striking and penetrating calm in a world where we are ズとなった。
constantly besieged by an excess of intrusive stimuli.
Throughout the years, Transcendental Tranquility has become an 被写体の選択、層構造、制作により、
essentially endless series of unique, emotionally charged Transcendental Tranquility は、写真、絵画、映像が調和
images. する。
Through his choice of subject, layering, and execution,
Transcendental Tranquility often balances on the interface 画像が自由に操作できること、および被写体が変化するこ
between photography, painting, and film. とを前提に、ローズポートは、このプロジェクトの画像は一
In times of unbridled manipulation of images and in line 切編集されていない本物であることを証明する。作品が見
with the subject of his photography, Roseport swears by せるのは、撮影の瞬間にカメラが捉えた情景。
the authenticity of unedited images for this project. What
the viewer sees is what he captures with the camera at the ローズポートは、ベルギー、イギリス、アメリカ、スペイン、イ
moment of the shot. タリア、フランスの海を撮影し、2015年から Transcendental
Roseport has been working on his Transcendental Tranquility Tranquility に取り組んでいる。プロジェクトでは、定期的に
project since 2015, photographing seas and oceans in Belgi- 新しい画像が紹介されている。
um, the United Kingdom, the USA, Spain, Italy, and France.
The project is continually expanded with new images.



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“Taking
everything superfluous out
is the basis of superior design
in my opinion,
and it returns me to that
simpler state in myself.
So I strip the creative process
back to the three elements;
water, horizon, sky.”



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St Leonards-on-Sea is one of the places where I I took this shot at 5 a.m. in 2016, during a photo Balcony, table, and cup. An early morning My wife, Hilde – mother to our two daughters
love to work. shoot in Hastings. It is shot through the window Polaroid view over the English Channel, and stepmother to my son, business partner,
The insanely beautiful building on the left is the – which is architecturally characteristic of the La Manche, or Het Kanaal. assistant on shoots, greatest supporter and
Marine Court Building, a Grade II listed Stream- building– of an apartment inhabited by a London helper, with endless patience – enjoying a brief
line Modern (Art Deco) apartment block on the jewelry designer. This photo is part of my Fading Memories project, in moment between shots.
seafront of St Leonards. which I try to visualize the feeling of memories that
What you see is the Hastings Pier. fade away. Of losing the details.
The block was built between 1936 and 1938 and was The first version was built in 1872 by Eugenius Birch. The images then take on a dreamlike, surreal
modelled on the recently launched Cunard Ocean He also designed, among other things, Eastbourne atmosphere. All that once was sharp, crisp, and vivid
liner Queen Mary. Pier and Brighton Pier. in our minds gets blurred.
Its bright white exterior stands majestically, and I think Unfortunately, piers have a real weakness for fire: the Shapes and colors disappear. No matter how hard
also somewhat deservedly arrogantly, along the Brighton (+2003), Eastbourne (+2014), and Hastings we fight. Bits and pieces are gone to never come
seafront promenade. (+2010) piers were all destroyed by fire. back.
In 2015, we rented a studio there for a few days as However, if you want to see a pier with vision that was But even the most fragile memory can bring back the
a home base for a series of shoots in the area and, then given a contemporary design, this is the one. whole story. And most of the time, we will remember
believe me, it’s not just on the outside that makes you No sticky smell of cotton candy, sounds of pinball that which has faded with more fondness – whether
feel like you’re on an ocean steamer. machines chirping, or glaring neon lights here. The it was tough or hard, softer – than when we originally
The huge room in front, where people used to dance design won the 2017 Stirling Prize for Architecture. lived it. It’s what we do. It’s how we survive.
and party, now houses a pitiful furniture shop with On the pier today is a wooden amphitheater-like In Fading Memories, I know the story behind the
pale-colored, heavy leather seats. What happens in structure with an equally small and congenial bar on image. The place. The time. The people. The viewer
the big hall above – once a two-story restaurant – is a top - from which you have a lovely view of does not.
well-kept mystery. Hastings and St Leonards-on-Sea in pleasant Thanks to what they don’t see, the images evoke
In the gallery along the boulevard, a few shops and weather; you can even spot Eastbourne on an even more open stories than the ones I know. More
restaurants are fighting a grudging battle for survival, especially clear day. open stories than they would do if the images were
but the residents of the apartments intact. So the mind creates its own story.
above – now mostly wealthier Londoners – would
rather see them disappear.

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“At exhibitions, I have often
heard people say that
the images spread a blanket
of calm over them.
That they invite repeated
viewing, in which they
sort of drown until
they obtain a sense of peace
that is so often lacking
in our modern lives.”

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QA& you and the horizon. I enjoy that knowledge of technique. I didn’t work on nothing much going on, and it didn’t look
immensely, my gaze held captive. Time
flies by without me realizing it, and 4:30 them for more than an hour or two. They like that was going to change soon.
in the morning is suddenly nine o’clock.
That’s also the time when most of us are were a kind of emotional outburst put on You could hardly distinguish the sea from
still in bed, and it is literally ‘quiet’.
It brings me a peace that I think we can canvas in vivid colors. the sky. It was just one big gray blur,
all use, even need.
The number of stimuli that are constantly Remarkably, however, years later, I found but… I found a sheltered spot, put my
fired at us today is overwhelming and,
yes, we do it to ourselves with Breaking that I unconsciously shaped the same camera on my tripod, and started
News flashes on our phones and laptops,
radio, and TV that you can plug into eve- visual language in my photography. shooting anyway.
rywhere, Twitter, Instagram, e-mail…”
The big difference is that as a painter, At that point, I didn’t know that this was
“As with much art; take your time. I go
back to what I wrote above; it goes too you create your subject from nothing. A the start of this new and exciting project
fast and there is too much.
We have x time to visit an exhibition be- painter can paint an ocean without being that I would later call Transcendental

near it. Tranquility.

As a photographer, I have to be physical- Back at the apartment, looking at the

ly there, literally standing in front of my Surely, photos on my laptop,
subject to take the picture. the shots showed
Nature determines what I can and can’t it’s
me the potential and

work with. I can’t change that. The wind, photoshopped? the challenges of
an overcast or sunny day, the current, the working with only

color of the water… they all determine the water’s surface, the horizon, and the

what I have to work with. Sometimes, sky. But what was most interesting to see

clouds are welcome in a composition, was how strongly these photos commu-

but sometimes, they’re there when you nicated.What a deep emotional impact

cause after that we have something else don’t want them in the picture at all. they had.

planned, of musts or not. The color of the water is determined just I decided that day, back in 2015, to

“As a child, I had nothing to do with seas Fairs bring galleries together so that we as much by that water and what is develop the idea into an ongoing project.

and water. My mother often told me the can view over a hundred collections by underneath it as by the sky above it. I would only remove sensor dust and

story of how, when I was five years old, a plethora of artists. After twenty stands, It takes a lot of patience as well as pixel defects.

my answer to the question,‘Shall we go I find I’m slogging through them, even speedy reflexes.What wasn’t there a It all has to happen in the camera, at the

for a swim in the sea?’ was ‘No, there’s though I made a shortlist before I started. second earlier is suddenly there and just moment of the shoot. If it doesn’t happen

too much water,’ and then I pulled on her It seems I’m also a big fan of the as quickly gone again. there, it goes in the trash. So that resulted
like I see benches in museums,
hand as hard as I could to get as far away which unfortunately you That’s when I like to surrender to the in a rather strict set, just the water,

from the water as possible. elements and distance myself from time, horizon, light, and no digital manipulati-

Later, I learned to windsurf and, a few more when hardly ever find in literally, and then my photography takes on.

years after that, my wife and I I look galleries. on something of a painterly quality. I knew I would have to dig deep into the

systematically chose our holiday longer? You have to take your The material is there, and I have to hidden rooms of my camera to come up
time for art and that
destinations according to whether or not choose to represent it literally or with interesting work.

it was possible to sail there. As a result, certainly applies to Tranquility. create an image somewhere on the axis Later, I started physically painting with

almost everyone thought I was a water The longer you look, the more you see. between a realistic representation and the camera. Now, sometimes the oceans

rat, but I only went into Suddenly, you see some clouds in that an abstract one. are no longer recognizable, and they
the water if the boat
Why your sky that seemed empty and the waves In this project, I have chosen to create become Rothkosian color impressions

passion capsized. begin to move again. photographs that speak the language of lacking any frame of reference. But the

for oceans? So, it’s not so much a A journalist from the Hastings Independent paintings and thus best encapsulate the goal is not to show an ocean; it is to

passion for oceans, but put it this way:“Our brains seem to tranquility that I wish to convey. create a scene that generates a state of

one for immense voids, silences, and tolerate only so much emptiness, At exhibitions, I have often heard people calm, in which what is perceived as

peace. Oceans and seas are then the before they push to return us to something say that the images spread a blanket of troublesome in the psyche falls away.”

closest answer to translating that into familiar.” calm over them. That they invite

images, although I have to drive three Flor Bex, curator of the 2017 exhibition at repeated viewing, in which they sort of

hours for that. Museum M in Leuven, gave the exhibition drown until they obtain a sense of peace

We travelled through the USA several the title “There is always more to see.” that is so often lacking in our modern “It’s a question that people always ask
lives.Which is just a wonderful feeling
times and if we were living there, I could because it is exactly what happens to me when they come to an exhibition. I
me at the moment of the shoot. And it is
probably just drive out of the street in exactly the feeling I try to convey with prefer not to tell because
this project.” Where did why would you want to
many places and be at the coast.
you take know? If I tell you where
The plan is to one day travel through “Some time ago, I found two paintings
that photo? I took the picture, it takes
the ‘flyover States’, but we’ve already that I made at least twenty years ago.
away some of the magic.
been to places in Utah and Texas where They both consist of horizontal bands of
you can see for miles and miles, without color that blend into each other. It would ruin your imagination, possibly

anything taller than one and a half feet Actually remarkably similar to my cur- your dreams, and reduce the work back

sticking up above the ground. Is it a rent photography. “I started Transcendental Tranquility to a known geographical and therefore
It is that infinite horizontal. At home, there are also partly by coincidence.We were taking a inherently limiting reality, while the
painting? two larger paintings that road trip through the Pyrenees and had tableau wants to do exactly the opposite,
There is also a penetrating emptiness planned to spend two days in San and create a new reality, free from the
Sebastian.When the weather was bad rational.”
and stillness, but no peace, in my project, I made on which the

Solitary Giants, for which I photographed surface is divided in two, with black at
mountains around a Norwegian fjord.
the bottom and an explosion of colors at there and a day at the beach wasn’t an
What attracts me to those empty plains
the top. option, I grabbed my camera and tripod
or seas is that unobstructedness. That
Again, images that I painted years ago and took the more than one-hundred-
you can literally look dozens of miles into and now bring back. They are terrible
the distance without anything between year-old ‘funicular’ to Monte Igueldo.
paintings because I didn’t have any
Light conditions were low, no contrast,





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On the page to the left, I show one of the rare photos
taken in Belgium. Heavy traffic in the shipping lane of
The English Channel makes photographing at the
Belgian coast for Transcendentral Tranquility almost
impossible.
Drizzling rain that day obstructed visibility so much
that the ships in the shipping lane were dissolved into
a thick fog.

“The immensity
of sky and water seems
to generate states of calm,
where what feels
troublesome in the psyche
drops away.
Then interestingly, later,
after the slowness, we start
projecting thoughts onto the
tableau again.”

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