Two Galgo’s
Himalaya’s, North-India
Earth
*In Progress* At Midnight Plays a Dancetune
Als de moeder van filmmaker Roy Seerden overlijdt, gaan alle remmen los. Seks, drugs, nachtelijke omzwervingen: het leven als een samengebalde brok energie, verdriet en onthechting. Tegelijkertijd dringt de herinnering aan Antoine zich op, de zonderlinge buurman uit zijn jeugd. Antoine de onaangepaste, die uiteindelijk uit zijn huis werd gezet en op straat belandde. Zonder […]
Italy, 2017
*In progress* Exhibition Anywhere
For the photography exhibition Anywhere, I selected a series of images captured across the globe. Her photographs explore the contrasts and connections between different cultures, weaving a visual narrative that celebrates both diversity and shared human experiences. I am drawn to the small, magical moments that unfold in everyday life—unique to each corner of the world.
From the midnight sun in northern Europe to the ethereal blue hour in India or the fiery red skies of China, my work captures the fleeting beauty of these instances. Yet, at the heart of her stories lies the human figure. The individual becomes the anchor, embodying the universality of emotions and experiences. Julia’s fascination with magical realism in the ordinary fuels her creative vision, turning the mundane into something extraordinary and timeless.
Apartment Buildings – Recreating Edward Hopper
Edward Hopper was an American painter who depicted the American way of life through realism. Hopper’s paintings create an unreal, desolate atmosphere, often characterized by psychological tension. The people in his works rarely appear happy, and his paintings evoke a sense of being “together but lonely.” The figures in his art often seem unable to truly see or connect with each other.
As a project, a student from my school’s Director of Photography course and I took on the challenge of reproducing an Edward Hopper painting. We were particularly interested in how Hopper uses perspective to shape his compositions.
While designing the set, we started with a small-scale maquette and realized we needed to build the set at a 45-degree angle to achieve the desired effect. The white part of the window closest to the camera was constructed to stand 30 cm from the lens, while the woman was represented life-size. The right-hand side of the painting, depicting the ground, was recreated as a painted surface on the floor. The final image was captured on analogue film using a Hasselblad camera.
My fascination with the magical subject of perspective has inspired me to write my thesis on the influence of linear perspective—from the Renaissance period to the present—on architecture and film.
MADEIRA
beijing
Beijing