STUDY

The Detached Gaze

[person_by] Hiryczuk / Van Oevelen Sjoerd van Oevelen Elodie Hiryczuk

August 2021

The Detached Gaze presents a collection of sources on visual perception and alternative ways of representing space within the realm of photography and painting. As visual artists/ photographers we aim to analyse how these images can affect our gaze on a fundamental level and change the way we relate to the world. With this project we share and archive our artistic research. This research was often done in the first conceptual stages of our projects and has created a theoretical context for our photographic work to arise from. We hope this collection will function as a place for discussion and lead to some insights into new ways of seeing. The title refers to the Japanese term ‘Riken no ken’ which means ‘watching with a detached gaze’ or literally ‘looking in an unprejudiced way’. For centuries it has been used in Japanese garden making as an important empirical method to perceive the garden space to its fullest extend. It encourages the beholder to look in an active, wandering and open-minded way in order to experience the phenomena of nature.
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Hiryczuk / Van Oevelen
Hiryczuk / Van Oevelen is a collaboration between artists/ researchers Elodie Hiryczuk (1977, Avignon) and Sjoerd van Oevelen (1974, Steenbergen). They are interested in the workings of perception in humankind's relationship to nature and the landscape. The differences and similarities between Western and Eastern traditions of painting and photography deeply shape their work and thinking.

Sjoerd van Oevelen
Sjoerd van Oevelen (b. 1974) is a Dutch artist and researcher based in Amsterdam. He collaborates with Elodie Hiryczuk under the name Hiryczuk/ Van Oevelen. Their work explores the workings of perception in humankind's relationship to nature and the landscape.

Elodie Hiryczuk
Elodie Hiryczuk (b. 1977) is a French/ Dutch artist and researcher based in Amsterdam. She collaborates with Sjoerd van Oevelen under the name Hiryczuk/ Van Oevelen. Their work explores the workings of perception in humankind's relationship to nature and the landscape.

works

Works in This Study

Diagrams illustrating the differences between Western and Chinese perspective

Diagrams illustrating the differences between Western and Chinese perspective,

[person_by] Benjamin March

The most general criticism aimed at Chinese paintings by Westerners seems to be concerned with the representation of distance, and very often takes the form: Chinese paintings have no perspective. This is, of course, not only untrue, but it is not what the critic meant to say.

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A. and Pangeometry (image 2)El Lissitzky1925

A. and Pangeometry (image 2), El Lissitzky, 1925

[person_by] El Lissitzky

1925

Perspective is nothing but a convention for representing distance, and though the term is sometimes limited to mean the type of projection generally used in the West, it properly includes any and all devices for representing three dimensions in tw …

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[person_by] Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2015

The Detached Gaze presents a collection of images and texts Hiryczuk / Van Oevelen have collected during their artistic research over the past 5 years.

Sceneries – Girl Making a Model of a Landscape (after Hokusai)Hiryczuk / Van Oevelen2005

Sceneries – Girl Making a Model of a Landscape (after Hokusai), Hiryczuk / Van Oevelen, 2005

[person_by] Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2014

Photography is generally understood as a means to produce images of reality. The analogy between the optical functioning of the photographic lens and our human eye even makes us believe that photography generates an accurate representation of what we see.

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El Lissitzky, A. and Pangeometry, 1925 (first diagram)El Lissitzky1925

El Lissitzky, A. and Pangeometry, 1925 (first diagram), El Lissitzky, 1925

[person_by] Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen

2015

From a philosophical point of view the thoughts behind Pangeometry share many resemblances with Eastern concepts in which reality is not exclusively considered from a human perspective.