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		Elspeth Diederix 2e Kostverlorenkade 4-huis 1052 RH Amsterdam tel:+31 (0)20-4214492 mob: +31 (0)6-14670687 elspeth@dds.nl galleries: diana stigter, amsterdam agency: solar initiative
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	CURRICULUM VITAE Born in 1971 Nairobi, Kenya 1990-1995 - Gerrit Rietveld Academie, Amsterdam 1998-2000 - Rijksacademie van Beeldende Kunsten, Amsterdam 2007 -‘Archipelago Olanda’ Miart, Milan 2006 -‘Dutch dare’ Australian Cente for - -‘Photography, Sydney -‘Netherlands Now, L'ecole du nord’ MEP, -‘Paris -‘Dice thrown’ Bellwether gallery, -‘New York -‘11 contemporaries’ ~ -‘Michael Hoppen gallery, London 2005 -‘Grote kunst voor kleine mensen’ -‘De Paviljoens, Almere -‘Confrontation’ FOAM -HxBxD, GEM, The Hague -Dordrechts museum (met Albert Zwaan) -‘In sight’ The Art Institute of Chicago -‘Domestic circle’ Erasmus Huis, Jakarta -Constructed moment, KW 14,Den Bosch -Magazijn van de verbeelding, -Museum het Valkhof, Nijmegen 2004 -‘Supernatural’Huis Marseille, -‘Amsterdam (with Marnix Goosens) -‘Wonderholland’ Mercati di Traiano, Rome -Histoire(s) Paralelle(s) Confrontation, -Institut Neerlandais, Paris 2003 -‘Section one’ Fotomuseum, The Hague -‘Link’ Stedelijk Museum Amsterdam -Galerie Diana Stigter, Amsterdam (solo) -ACF, Amsterdam (solo) -Galllery Ludovic de Wavrin, Paris 2002 -‘A’dam and Eve’ De Appel, Amsterdam -‘Prix de Rome’ FOAM, -‘Institut Neerlandais, Paris -‘Statement’ Paris Photo, Diana Stigter, -‘Paris -‘Reality Machines’ NAI, Rotterdam -‘Fotografen van Nederland’ Fotomuseum, -‘The Hague 2001 -’Drieluik’ Amsterdams Centrum voor Fotografie, Amsterdam -Wetering Galerie, Amsterdam (with Pia Wergius) -’Mooie foto’s’GalerieAschenbach/Hofland, Amsterdam -’Dutch delight’ FOAM Work in collections -AMC -Akzo Nobel -Academisch Ziekenhuis Utrecht -Stedelijk Museum,Amsterdam -ABN/AMRO -MEP,Parijs -Mario Testino -Rabobank -La Salle bank,Chicago Bibliography -De Volkskrant, ‘Voorschot op lente in dode ruimten’ Wilma Suto, 24-2-1995 -Het Financiele Dagblad, Grenzeloze verbeelding in eindexamenselectie’Karin Feenstra, 28-10-1995 -Het Financiele Dagblad, ‘Jonge kunstenaars op weg naar het podium’ Karin Feenstra, 17-5-1997 -Haagsche courant, ‘Acht jonge kunstenaars uit dieverse galeries’ Roos van Put, 6-2-1998 -Eindhovens Dagblad, ‘Zilveren strandbal speelt voor zon’ Anna van der Burgt 10-3-1998 -Kunstbeeld, Atelier Signalement, Saskia Monshouwer, 4-1998 -Het Parool, ‘DE sudden summer van 7 fotografen’ Maartje van Breejen 17-9-1998 -De Volkskrant, Couleur Locale, Erik Hagoort, 1-3-2000 -Het Parool, ‘Het tweede leven van een kopje koffie’ Marina de Vries, 16-4-2002 -Trouw, ‘Elders kijk ik alerter’ Marlijn Dingshoff, 19-4-2002 -NRC ‘Gesprek met beeldend kunstenaar Elspeth Diederix’ Sandra Smallenburg, 6-6-2003 Commissions -Kunstopdracht Rijksgebouwendienst ‘La Fortezza’, Maastricht 1999 -Kleinschalige Beeldende Kunstopdracht voor de polinkliniek van het AMC, Amsterdams Fonds voor de Kunst 2000 -Kunstopsdracht Rabobank Utrecht 2003 -Kunstopdracht Centraal Station Amsterdam, Amsterdams fonds voor de Kunst, 2005 Prizes -Prix de Rome fotografie 2002
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		Elspeth Diederix (born Nairobi, Kenya, 1971) is an artist who is always on the move. Travelling for her is a way of life. Even though most of her photographs are taken in exotic locations, evidence of this is seldom found in her work. Purposefully she herself remains on the outside. Instead of being absorbed by the setting of her subject, she prefers to maintain a high degree of detachment. This enables her to create a sense of alienation and in her photographs she achieves this by stripping everyday objects of what normally one takes for granted. There comes a moment when everyday objects lose their sense of familiarity, acquire another meaning and seem to become almost abstract. Such moments are used by Elspeth Diederix as a starting point for her images. Diederix started at the art academy by studying painting and sculpture but soon tried her hand at photography, which she found to be a more effective way of expressing her ideas. Diederix deliberately abstains from the use of digital manipulation techniques but instead in her photographs special effects are achieved by manual intervention. Effects such as optical illusion, false perspective, the mixing of colours and forms, are elements inherent to the art of painting and are applied by her in the creation of the photographic image. Diederix is playful and inventive in her visualisation of images but strict and almost mathematical in constructing her compositions. Even though her photographs may give the impression that they are brought about by chance, they are in fact staged to an extreme degree. A plastic bag may become a flower, a plastic bottle part of a classical still life. Is a motorbike still a motorbike when it has been covered all over with pink pigment? And what is the meaning of a “post-it” label on the trunk of a solitary tree in a snow covered landscape?
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