Artist
Josephina van de Water
Josephina van de Water was born in Oosterhout, the Netherlands, in 1985. She currently lives and works in Antwerp, Belgium.
The project 'The lost paracosmist' is an animated short film by multimedia artist Josephina van de Water. Using digital photography, printed celluloid film, paint, digital scans, video montage, cardboard and extreme patience, she brings a fictitious world to life in fascinating detail. The film was made in the traditional, time-consuming way that requires particular dedication, with each frame individually handcoloured as was done in the first colour movies.
The imaginary island of Paperland is inhabited by a colourful collection of talking animals. Josephina van de Water wrote and narrated the dialogue, giving each animal its own voice, tone and place in her universe. The chronicle guides us through a logical, yet fictitious, tale, in which we learn about Paperland’s geography, history, language, culture and religion.
As in every good fable, imagination is closely accompanied by reflection. While The lost paracosmist focuses on the irresistible charms of storytelling, it also warns the audience to beware of stories. They have the power to contort our perception of the world and disturb our relationship with reality.
The endearing cardboard animals in their warm, glowing colours, and the gentle, motherly voice of the narrator, are reminiscent of children’s programmes. However, the topics covered in this allegory are anything but childish: territorial disputes, political and religious authority and mechanisms of exclusion and esteem all make an appearance, allowing inequality and frustration to creep into this seemingly safe cosmos.
- Text by Geert Goiris (.tiff)
The lost paracosmist
The project 'The lost paracosmist' is an animated short film by multimedia artist Josephina van de Water. Using digital photography, printed celluloid film, paint, digital scans, video montage, cardboard and extreme patience, she brings a fictitious world to life in fascinating detail. The film was made in the traditional, time-consuming way that requires particular dedication, with each frame individually handcoloured as was done in the first colour movies.
The imaginary island of Paperland is inhabited by a colourful collection of talking animals. Josephina van de Water wrote and narrated the dialogue, giving each animal its own voice, tone and place in her universe. The chronicle guides us through a logical, yet fictitious, tale, in which we learn about Paperland’s geography, history, language, culture and religion.
As in every good fable, imagination is closely accompanied by reflection. While The lost paracosmist focuses on the irresistible charms of storytelling, it also warns the audience to beware of stories. They have the power to contort our perception of the world and disturb our relationship with reality.
The endearing cardboard animals in their warm, glowing colours, and the gentle, motherly voice of the narrator, are reminiscent of children’s programmes. However, the topics covered in this allegory are anything but childish: territorial disputes, political and religious authority and mechanisms of exclusion and esteem all make an appearance, allowing inequality and frustration to creep into this seemingly safe cosmos.
- Text by Geert Goiris (.tiff)
The 9th edition of .tiff reflects a diversity of voices, positions and subject matter. It is a passionate group of artists and photographers who each try to give personal answers to today’s questions. Youqine Lefèvre (1993, CN) and Joud Toamah (1992, SY) take their personal histories of migration and family archivesas a starting point to explore relationships and the idea of belonging. Lived experience also guides the work of Ugo Woatzi (1991, FR) and his celebration of queer masculinities. Erien Withouck (1994, BE) and Josephina van de Water (1985, NL) use myths and fables to comment on today’s society, whereas Sébastien Cuvelier (1975, BE) creates a visual
fictional paradise. Kamel Moussa (1981, BE) captures the devastating condition of refugees and human resilience. Aurélie Bayad (1994, FR) expresses desires and anxieties in a networked world, whereas Michiel De Cleene (1988, BE) invites viewers to construct their own narrative based on a web of images and information. Lastly, Lucas Leffler (1993, BE) explores the materiality of the photographic medium and its rich history. The ten photographers work in a variety of media, including books, video, performance and installations. Their stories are as diverse as their approach: documentary, analytical, poetic, conceptual, humorous, intimate and most of all fresh and thought-provoking.
Over the years, .tiff has succeeded in building a Belgian photography community that breaches language barriers and allows for an exchange of ideas and insights between artists, curators, critics and researchers. The current selection shows that this community is ever growing and that Belgian photography will continue to reinvent itself for many years to come.