Katrien de Blauwer

Katrien De Blauwer (b. 1969) is a master in the art of ‘Cut’, a more apt word to define her practice than the obvious term, ‘collage’, which seems out of step with the mastery of her compositions and the formal power of her creations. Conceptual in her approach, the artistic gesture’s employed are linked to an intuitive perception. De Blauwer is an observer, an attentive analyst of the elements found in a photograph- both in its subject and composition; and a storyteller, reimagining new narratives from pre-existing sources. The resulting works toy between reality and fantasy, and despite their static form, possess a filmic vibration. Calling herself a ‘photographer without a camera’, De Blauwer extracts elements of the photographic language to reactivate its formal value.


In 2019, her work will be the subject of a large personal exhibition at the Fotomuseum in Rotterdam, The Netherlands. Selected exhibitions include ‘NEW WORK PART III: SUBJECT’, Cob Gallery, London (2018); ‘Photo London’, Gallery Les Filles du Calvaire, London (2018); ‘Art Brussels’, Gallery Fifty One, Brussels (2018); ‘Iconobelge’, Antwerp Photo International Photography Festival, Antwerp (2018); ‘Double’, Gallery Fifty One Too, Antwerp (2018); ‘PHOTO FRICTION’, Cultuurcentrum Mechelen, Belgium (2018); ‘ADOPTIVE’, Stephen Bulger Gallery, Toronto (2018); ‘Photofairs San Francisco’, Gallery Les Filles du Calvaire, San Francisco (2018); ‘The Photography Show by AIPAD 2018’, Gallery Les Filles du Calvaire, NY (2018); ‘Without Camera’, Hopstreet Gallery, Brussels (2017); ‘Fugue’, Tique Art Space, Antwerp (2017); ‘Scenes’, Le Château d’Eau, Toulouse (2017); ‘Paris Photo’, Gallery Fifty One, Paris (2017); ‘The Photography Show by AIPAD 2017’, Gallery Les Filles du Calvaire (2017); ‘Seventeen by FIFTY ONE’, Gallery Fifty One, Antwerp (2017); ‘Art Brussels’, Gallery Les Filles du Calvaire, Brussels (2017); ‘Prove di fotografia #1’, Spazio Labo’ Fotografia, Bologna (2016); ‘Histoires de lieux et de liens’, Arendt House, Luxembourg (2016); and ‘Les adoptès’, Honoré Visconti, Paris (2016).