Gallery edition

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“I’m always surfing
the boundary between
photography and painting.
My concern is with
the tableau, which allows
people to encounter
rhythms of reality.”

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UKIYO#3544
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UKIYO literally means ‘floating world’ and The origins of Ukiyo
describes the moment and feeling when your
mind is emptied, when you live in the moment, During the Tokugawa period (1600-1868) in Japan,
detached from the difficulties of life, and the word Ukiyo came to describe the lifestyle of sen-
experience a sense of total relaxation. seless pleasure-seeking and boredom that typified life
for many people in the cities. Among the participants
I already made the provision of this in Ukiyo culture were samurai, kabuki theatre actors,
‘experience’ the heart of my Transcendental geishas, sumo wrestlers, prostitutes, and members of
Tranquility project. UKIYO is a further the wealthy merchant class.
exploration in the pursuit of this experience. To cope with their frustration or boredom, they came
together to enjoy theatre and music performances,
Whereas the works in Transcendental Tranquility calligraphy and painting, poetry writing and speaking
show exactly what the camera captures at the competitions, tea ceremonies and, of course, sexual
moment of shooting  – without any post-production – adventures.
 I use the camera to physically ‘paint’ the tableau in Ukiyo was an unrivalled arena for artistic talent of all
UKIYO. kinds. One of the most enduring art forms to emerge
from the Floating World is the ukiyo-e, literally ‘Floating
Then, later, graphic notes, inspired by the Japanese World picture’, the famous Japanese woodcut.
Floating World Picture art form (mid-18th century), are Colorful and beautifully designed, the woodcuts origi-
added to the work in the post-processing phase. nated as cheap advertising posters for kabuki perfor-
mances or tea houses.
However, experienced woodcut artists also created
beautiful landscapes or scenes from famous folk tales
and historical incidents.



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In this 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 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 that 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 own works of art.

In Roseport's rendering of them, an atmosphere both threatening and liberating
constantly lurks. Greedy use of harsh black tones result 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. The fact that nature gives even these structures
installed between sea and land new forms and a new purpose as a work of art, urges
Roseport to portray them as well. Even more so than nature, they lose the never-ending

IN BETWEENbattle and thus acquire new meaning.

In between >land and sea< avoids, through its approach, what at first sight might
appear to be documentary photography. Under the skin, those who allow themselves the
time to look see the tranquility, but also the impulse to contemplate. It results in a
slow but sure detachment from reality and the moment and ultimately in a mental
displacement.

What Roseport does with his rendering in In between >land and sea< is to allow the
subjects to dialogue with the viewer. Through the this time deliberately chosen small
dimensions of the works, he invites the viewer, obliges the viewer to come closer to
the image and allow what they see to slowly trickle into them in order to allow the
experience in the mind to take over the body.

The fact that Roseport continues to put the aesthetic approach first, rewarding the
viewer rather than shocking them, is a matter of course for him here too, as in
Transcendental Tranquility, Fading Memories and Closer to the gods.

Whereas in Transcendental Tranquility Roseport silently forces the spectator to choose
whether or not to place the images in his own imagined geography, he now - in line
with the detailed language of the recordings - indicates the exact location of the
recording, so that the spectator himself can go and see transience, his own temporary
reality, on the spot.

>LAND AND SEA<



Ault (France)

Birling Gap (great britain)

Ault (France)

Birling Gap (great britain)

Birling Gap (great britain)



Birling Gap (great britain)







Malo-les-Bains (France)



leffrinckoucke (france)