During my travels as a photographer and d.o.p. I always carry a Stylus Epic to photograph intuitively. The series (Un)colored is a selection of these images from the last 15 years. Most of the images were originally shot on b&w film. When I was in Silver Lake, Los Angeles one time, I realised it was a shame I was working on b&w and decided to start colouring b&w images in post production. Bringing to question how one remembers color.

The Returns

In June 2014 I went to see a performance of the Forsythe Company during the Holland Festival in Amsterdam. That night I got totally overwhelmed by the piece and the originality and richness of the costumes of the dancers.

When I met the associate artistic director afterwards I asked him if I could come back the next day during their last ever performance of The Returns. He said yes. And so the next day I returned, now backstage, and photographed as many costumes as possible. It felt like being backstage at a fashion show from another world. For one night I became part of the crew, capturing the dancers who only had a few seconds to be photographed before going on stage. Sometimes none.

The result reminds me a lot of the work of Jean Baptiste Vanmour (1671-1731), who has a series of portraits hanging in room 1.3 at the Rijksmuseum in Amsterdam. A series I very much like. The fabulous depiction of notables from Constantinople, all paintings hung in a grid. I decided to present this work in the same grid, as a homage to Vanmour's work.

American Backgrounds

"When we discussed his work, there was one set of images that really stuck out to me. Jochem had a fascination for something that most of us would find nondescript: city walls. Not just any city walls but the city wall. Jochem would wait for hours in order to photograph passersby against the perfect background. He took pictures that were truly mesmerizing—in a slightly uncomfortable way. On the one hand, his photos were classic documentary portraits—shots of a single moment in time—and on the other, they were meticulously constructed compositions, though without the obvious wow factor. One could say they were compositions that consisted of emptiness and a single human being. Jochem called this ongoing art project Backgrounds.“

from: Book Of Denim, Vol. 1, Una Bella Figura, p. 78-89, Amsterdam Publishing Int. 2016