Scrap Yard, Winter, by Hendrik Faure

Rendering The Spirit: Interview with Hendrik Faure

Could you tell me your name?
Hendrik Faure

Where are you from?

How did you get into photography as an art medium (as opposed to casual or professional use)?
I do not remember for sure, I have a darkroom since 1966 and soon was interested in fine art printing, made solarisations and lith-printing. Later I hand-coloured my still life photographs.

Which alternative processes do you practice?
copperplate photogravure following method of Talbot/Klic.

What attracted you to alternative processes in general?
Interest in photohistory and in aesthetic well composed pictures.

What drew you to the specific media you practice?
Pictorialistic photogravures in literature and museums.

How does the choice of media influence your choice of subject matter (or vice versa)?
The medium fits the message.

In today’s mobile, electronic world of instant communication and virtual sharing of images, how important is it to you to create hand-made images?
Important enough to spend three days work per print edition

Is your choice to practice alternative, hand-made photography a reaction to, a complement to, or not influenced by the world of digital media?
When I began photography, there was no digital. Later I had my first computer. It was a Tandy TRS 80 model 3 and already had a mouse. She crawled through the floppy drive slot and tragically died within. I suppose, then the mouse did not like computers. I made some stills with dead mice. This was the strongest influence of digital media to my work.

Do you incorporate digital media into your alternative process work?
Photogravures need an inter-positiv, which I make chemical-based on document-film or digital on pictorio ohp. Digital so-called full frame cameras give freehand a quality like 24x36mm film cameras on tripod, but tend to have no soul.
I use digital capture sometimes if film is not possible. In the scrap project I captured pictures as well electrical as film-based (middle-format to 8x10inch).

If so, how do you incorporate it? Is it limited to mechanical reproduction technique, or does it inform/shape/influence the content of your work?
I use digital media for inferior photowork and seldom for multimedia projects.

What role do you see for hand-made/alternative process work in the art world of today? Where do you see yourself in that world?
This may be decided some 50 years later

Scrap Yard, Winter, by Hendrik Faure
Scrap Yard, Winter, by Hendrik Faure

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