Best Photobooks of 2017
the selection of Dutch newspaper De Volkskrant 12/15/2017
Beeld | 1994- De Telegraph, De Volkskrant | 1999- De Telegraph
| 2000- De Volkskrant | 2002- Kunst Beeld | 2003- Wall Paper -Exhibition
'Lovely Birds' | 2004- TIME Magazine -Art room 'PuzzleView' (503),
Winston Hotel, Amsterdam http://www.time.com/time/asia/tga/article/0,13673,501041004-702187,00.html
| 2005- Parool, Adformatie magazine | 2006- saatchi-gallery./
your gallery | 2007- PhotoQ -'Extreme Places' Photo Contest, California
Museum of Photography, USA | 2008- Kunst Beeld | 2010- NRC | 2011-
Eindhovens Dagblad, Gup Magazine
Magazine -Exhibition 'Lovely Birds', March 2003, Amsterdam.
on from her solo exhibition 'Photography, Airplanes & Sheep' in
the De Beyerd Museum in Breda (2002), involving photographic works
and installations, the photographic artist Orna Wertman has been
exploring further the theme landscape and 'birds'. In the 'puzzle
collages' she combines fragments from existing kitsch puzzles
with photo material. In the new, seemingly realistic image, photographs
of airplanes are added to self-created, often charming landscapes.
At first glance, the airplanes 'Lovely Birds', which give the
viewer a feeling of freedom, appear to be flying towards an untouched
landscape, a place where all things are in harmony. Upon closer
examination, the airplane turns into a roaring, burning monster,
an extension of the destructive, consuming and war-mongering power
of man. The landscape also seems harmonious, but this is deceptive.
With every new project, Wertman redefines reality into perspective,
and attempt to come to terms with the limitations of life. Orna
Wertman's work links various art disciplines. She does not acknowledge
any difference between the visual arts and photography.
Beeld - 'Broken Landscapes'
does it differently. She goes back to the 'old' device of the
collage to mislead the eye. She creates landscapes which are familiar
at first sight, but which don't seem to be 'right' when you take
a second look at them. It's always about two situations in the
landscape which are combined to one image. In this way, compositions
come into being, which, at one time, refer to the 'classical'
composition, but which are more often shaped into an image (that
is to a certain extent homogenous) in which an apocalyptical component
is present. These are landscapes which seem desolate and barren,
unmanageable and also somewhat threatening. These are the sort
of subtle and metaphorical components that demand not only a second
look at Orna Wertman's collages, but also a third one.