Still Life

©Benjamin Baltus

Still Life: a genre still alive

Still Life photography draws inspiration from the tradition of painting, notably of the Flemish artists who crafted compositions of inanimate objects loaded with symbolic meaning. Although this genre found its roots in the 17th century, photography embraced this style later on to elevate the medium to an art form. Some contemporary artists recreate this art form based on the works of the Dutch Golden Age's vanitas compositions, while others boldly push the boundaries of the medium by creating innovative arrangements.

A little of History

The term first emerged as "stilleven" in Dutch during the 17th century, and it was subsequently adopted into German as "Stilleben.". In English, the term conveys the notion of "immobile" or "silent life," opening new creative possibilities. This generic theme in photography intrigued the pioneers of the process. William Fox Talbot is the one who created the earliest photography of this type, challenging the notion that Niépce and Daguerre were the first pioneers in this field. Sylvain Besson, director of collections at the Nicéphore Niépce Museum, points this out.

Still Life in contemporary photography

Many photographers carry on the tradition of "nature morte," even though their photographs often bear no resemblance to the traditional models. This genre has become an important subject among contemporary artists. Unlike documentary photography, the essence of this art form lies in the composition. The photographer finds themselves alone with inanimate objects. By experimenting in the studio, they create innovative images by exercising control over the environment, amidst complete stillness.

Still Life Photographers exhibited at Hangar

Over the years, Hangar has presented a captivating selection of still life photography. From emerging talents to renowned artists, contemporary artists have much to say about this genre.

The Nature Mortes of Véronique Ellena

In her 'Natures Mortes' series created in 2008, the renowned photographer Véronique Ellena, evokes the vanitas themes of the Dutch Golden Era. The series features animals that have passed away, as well as a grenade and a pair of brioches resting on the floor. Captured in a minimalist space, these images reflect an aesthetic composition that characterizes Véronique Ellena's work. Inspired by ancient paintings, these photographs are rich with symbolism. In 'Les Clairs-Obscurs' she transforms objects from past artists into the primary subjects, each laden with historical significance. This series encapsulates the essence of photography, because the images were created through direct enlargement of 4x5 negatives, preserving their distinctive orangey veil, and revealing the natures mortes in an almost metaphysical beauty.

Polluting Still-Lifes

Emerging artist Alice Pallot, a French photographer based in Brussels, explores still life in her 'Oasis' series. Her work showcases a dramatic interpretation of floral compositions, utilising foam blocks to maintain their moisture. This product preserves the beauty of floral arrangements, while it is highly toxic and non-biodegradable. As a result, the dichotomy between the beauty of the 'eternal' flowers and the ugliness of an ecological catastrophe is present in the photos. This project was created in collaboration with Botanical Agency. 

Intèrmede by Anne De Gelas 

Belgian photographer Anne De Gelas also weaves this ancient genre into her work, especially evident in her series 'InTERMèDE.' It was during her battle with breast cancer that she discovered the desire to explore life's smaller details. As the artist points out: “In this moment of fragility, the desire is reborn to take a close look at little things, memories and everyday objects”. 

Krista van der Niet still life compositions

On its part, Dutch photographer Krista van der Niet draws inspiration particularly from the tradition of Dutch painting to craft her still life compositions. Adding a contemporary touch, the artist celebrates the absurd on everyday images. For instance, a group of peaches displayed over a napkin transformed into a piece of toilet paper, and a reinterpretation of a 17th-century painting by Jean-Baptiste-Siméon Chardin, where a melon is covered with plastic. Produced in her studio, the photographer maintains complete control over her compositions. As a result, Van der Niet creates images that surprise, where absurdity and daily life are exalted.