In his endeavor, Ellert Haitjema delves into a robust vernacular of forms, derived not from aesthetic norms, but from a primal inclination towards survival, from which it draws its exquisite allure.
Haitjema is thoroughly intrigued by the resourceful ingenuity displayed by individuals when faced with scarce resources. For years, he has been documenting, lens-in-hand, their impermanent dwellings, improvised fixes, and enigmatic objects repurposed to meet distinct needs. This exploration often occurs during his expeditions to far-flung destinations, or it may simply occur while taking a stroll around his local neighborhood.
Initially, the photographs served as personal reference points, serving as models and sources of inspiration for his sculptures. However, in Haphazard, these photographs are brought together with his own creations, participating in a dialogue full of brazen visual rhyming and playful wordplay, free from any hierarchy or indication of whether the image is a creation of his own or a photographed object. This differentiation is blurred in the photo-interventions. Haitjema delves into the visual elements suggested by the photographs themselves, subjecting them to various treatments. By creasing the photographs, immersing them in water, or encasing them in glass, he transitions them into three-dimensional entities, which he then captures through his camera lens once again. The outcome is a two-dimensional representation that challenges superficial observation with its idiosyncrasies.
‘Keen observation’ and ‘reckless thinking’ lie at the core of Haitjema’s artistic endeavors.
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