Koen Hauser

Kroniek der Lichtwerkers (2008), video still

1 Photography can create the illusion of reality. It exists within the wider realm of ‘the photographic’. 

2 The core of my artistic practice is the act of creation through craftsmanship and appliance of a wide variety of techniques both old and new, which is related to the perspective of so-called media archeology ︎︎︎.

3 Historical images and ‘the archival’ function both as sources of inspiration as well as material to be applied in the work itself.

4 Psychology and philosophy are implicitly present in my work through the way I process photographic material.

5 Most projects from recent years can be considered amalgamations;  eclectic mixes of conceptual notions and visual elements that together form a network of associations and connections to be interpreted as a whole. 

6 My work ultimately originates from the realm of metaphysics. 

Artist Statement
I like to play magic with photographic images. In this, the most important quality of photography is it’s possibility of creating an illusion. An illusion of reality.

Most of my work I do not consider as being photography per se but rather ‘photographic works’; that is – photorealistic representations, from the realm of ‘the photographic’.
This is directly related to human perception and opens myriad possibilities of thinking about what resides between perception and reality. 

I work across photography, moving image, book making, installation, texts and sculpture. In this, craftsmanship and a diverse array of applied techniques both function as a tool as well as the embodiment of the creation process. They infiltrate and cross-fertilize both the content and the visual appearance of the works. 
The creation process I consider a ritual of imagination. In several projects I even created images on the very act of creation – I call them performéances – to be understood as a residue of performances held to invoke the spirit of creation.

My current artistic practice revolves around the relations between the way I process photographic material and psychological and philosophical themes. Together with the incorporation or paraphrasing of the archival, it interweaves archetypes, visual clichés, conceptual notions, psychology, philosophy and mythology in an amalgamation of the phantastical.

Despite the abundance of visual aesthetics and techniques applied, for me the ‘photographic’ – being a representation of reality which determines our perception of reality itself – stays at the center of my practice. As a metaphor for the notion of philosophical idealism, it discloses the realm of metaphysics as the principle source of my work.