Cyanotype, giclée print, photogram, gouache and coloured pencil on paper, 170 x 115 cm. Engraving in gesso, acrylic, gouache and pencil on colored mdf, 83 x 60 cm. <a href="http://www.woutervenema.nl/index.php?/detail-double-negative-unprinted/">Detail</a>.<br/> 
This work depicts a kamal. The work derives from the wish to make a double landscape, like a mirage can mirror a landscape. You can also see this work as an unprinted woodcut. A work that always carries the promise of another work, like a doppelgänger you have not yet met. If you were to print the work only the kamal would remain and the landscape would disappear. Unprinted etching plate, wood, steel, Brasso, 13.5 x 66 x 86 cm. Digital print from exposed photographic paper negative on paper, 
24 x 17.5 cm, edition of 3. <br/>
The folded map <em><u><a href="http://www.woutervenema.nl/files/gimgs/1_kaart.jpg">Untitled (Map)</a></u></em>
 gave me the idea of making a camera with multiple lenses. I quickly arrived at the simplest of all cameras, the pinhole camera. I made one with ten apertures. This image is the first good exposure of the window of my studio at the Rijksakademie. The object photographed was duplicated ten times by this camera. Now you can experience one object in ten different places at one time, by looking at this photograph. See also the <u><a href="http://woutervenema.nl/index.php?/documentation-perspective-study/">documentation</a></u>. Gouache on folded paper, 42 x 29.7 cm. Project Rotterdam<br/>
Museum Boijmans Van Beuningen<br/>
13.02 - 07.08.2016<br/>
Photo: Lotte Stekelenburg<br/>
Floor drawing i.c.w. <u><a href="http://www.annedessing.nl">Anne Dessing</a></u><br/>
More installation views <a href="http://www.woutervenema.nl/index.php?/mouth-of-the-sky/"><u>here</u></a>. Inkjetprint on paper, 33 x 43 cm Pencil on paper, 29.7 x 21 cm. Montage, pencil, risograph, offset on paper mounted on coloured MDF, </br> 83 x 59 cm. Coloured pencil on unprinted woodcut block of black medium-density fibreboard, steel, 55 x 162 x 122 cm.<BR/>
If this woodcut were to be printed, the drawn red line would not appear because it has not been cut into the wood. The line would remain invisible, in the same way that when travelling, you draw lines in a landscape that are not always visible. The black pattern cut into the wood was made by photographing <em><u><a href="http://www.woutervenema.nl/files/gimgs/1_blueprint-bw-crop.jpg">Blueprint</a></u></em> in eight different light situations 
to create a relief. Digital print from exposed photographic paper negative on paper, 24 x 17.5 cm.<br/>For quite a while I didn’t know what I wanted to photograph with the new pinhole camera with ten apertures. Finally I bought a stuffed, mounted cobra and photographed it. 
A living snake sheds its skin at regular intervals, and thus can see itself 
from a different perspective. Wood, steel, acrylic on pinhole camera, digital prints, 123 x 80 x 250 cm Pressed paper pulp, steel, 165 x 60 x 45 cm. <br/>
This mask represents a whole series of falsehoods. I was looking for a mask of a sun god, and without doing further research into the background of this picture I assumed that I had found the mask I needed. I wanted to bring together a phenakistoscope and the mask in one image. After I finished my first version of the work my brother, who had just completed his exams in Greek, happened to drop by. He pointed out to me that it was not the image of a sun god that I had found, but what is called the death mask of Agamemnon, the Greek king who led the attack on Troy and succeeded in capturing the city through a plan made by Odysseus. The mask was discovered in 1876 by the archaeologist Heinrich Schliemann. He was firmly convinced that he had discovered the mask of Agamemnon, and that it proved that the accounts in Homer had actually taken place. Eventually it was proven that the graves where the mask had been found were 300 years older than the Trojan war. An artefact only seems to be able to withstand history by pretending to be something other than what it is, or, on the other hand, by disappearing, like objects which are found in tombs or under water. Acrylic on steel, wood, 172 x 50 x 53 cm. <br/>A coat stand is closely connected with the passage of time. You hang 
your jacket on it, fill the time with various activities, and then come back 
for your jacket. It is an object that represents a timeline. This coat stand is made from the steel frame of a table. The colours are based on the work <u><em><a href="http://www.woutervenema.nl/index.php?/prism-pseudonyms-i-ii-iii-iv/">Prism (Pseudonyms)</a></em></u>, in which a hand is lit with three different coloured lamps. New colours are created by the refraction of the light. Digital print on paper, 10 x 13.8 cm. Refolded map through which a hole  has been made, 28.5 x 16.5 cm. <br/>By folding the map, places are connected with one another. Places which otherwise would never come close to each other, just as layers of earth are connected when you drill a hole in the ground, or distant places can seem close in your thoughts. I folded the map in this way for the first time in 2007. I forgot about the map for a while, until I found it again this year. Suddenly I saw an analogy with the way a camera works. Like this map, a camera can assemble places all at one point, and thus, as it were, fold space. The map, which depicts a three-dimensional space, has now become spatial itself. Folded photographic paper, 24 x 17.8 cm. Coloured pencil on paper, 15.5 x 12.5 cm. Pencil on paper, 42 x 29.7 cm. <br/>
I folded this sheet in a particular way and then made a hole in it. It is a test sheet, a blueprint, that I have used for a lot of new works. It is based directly on the folded map. You can see the lines of the folds as abstract boundaries and the holes as places. Coloured pencil and pencil on paper, <br/>29.7 x 21 cm. <br/>
Cyanotype on paper, wood, steel, 174 x 110 x 77 cm. <br/>
A cyanotype print can fade, but it has the unique property of regaining 
its original colour if left in the dark for a time. Cyanotype is a photographic process, often used to reproduce drawings without the use of a camera, which after developing produces a cyan/-blue image; hence its other name, a blueprint. Felt pen and stencil print on paper, <br/>
29.7 x 21 cm. Office chair, steel, wood, 100 x 100 x 100 cm. <br/>
The Bárány chair, named for the Hungarian physicist Bárány Róbert, 
is a chair that is used during pilot training. I have adapted my old office chair so that it can be used as a Bárány chair. During their training, student pilots are spun round in this chair. When blindfolded, you no longer feel the rotation after several minutes, but instead think that you are moving forward. If you place your head on the rail and the chair is stopped abruptly, your body will uncontrollably move backwards with a jolt, and your arms will dart out into space. Silk-screen and gouache on paper, steel, magnets, 100 x 140 cm. <br/>
Photo: <a href="http://joppevenema.nl/"><u>Joppe Venema</u></a>. Colored pencil and charcoal on paper, 180 x 150 cm. Soot on glass, gouache and pencil on paper, 37 x 27 cm.<br/>
<em>Fruit Market I and II</em> are both made using heat. <em>Fruit Market I</em> consists of a cliché verre negative placed in front of a drawing. With the cliché verre technique a glass plane is blackened using the flame of a candle. Afterwards one can scratch in the layer of soot which can than be used as a negative. Lasercut in wood, 37 x 27 cm.<br/>
<em>Fruit Market II</em> is made by burning a drawing in wood using a laser. <em>Body Language (Positives)</em> (acrylic on wall, variable size) depicts a reversal film. The work is based on 35 photographs of a light streak sign. In each photograph I tried to repeat the sign as precise as I could. Screen print on 70 x 100 cm paper, edition of 10. <em>Lighthouse</em> (HDCAM, LtRt Dolby digital sound, 18here. Credits. ' height='112' /> Temporary space-filling mural during RijksakademieOPEN 2014.<br/>
More information about <em>Tussenruimte</em> <a href="http://woutervenema.nl/index.php?/text/"><u>here</u></a>.<br/> Installation views can be found <a href="http://woutervenema.nl/index.php?/tussenruimte-5/"><u>here</u></a>.<br/>
Photo: G.J. van Rooij. Coloured pencil and dirt on paper glued to a wall, variable size. Coloured pencil on paper, 70 x 50 cm. Image transfer on wall, variable size. <em>Hole</em>, a hand-drawn black and white animation (HD, Dolby surround sound, 4 Engraving in MDF wall, variable size.  Acrylic, acrylic marker and coloured pencil on wall, variable size. Screen printing ink on wall, variable size. Acrylic and pencil on wall, variable size. Coloured pencil on wall, 300 x 400 cm. <br/> 
I drew this pattern directly on a wall within an area of three by four meters over a period of two weeks. I had made a rule for myself: as soon as the 
two weeks were over, I had to put the pencil down. I wanted to make a map that did not represent a place, but rather the time that I had stayed in that place, in which the time would determine the composition of the drawing. <u><a href="http://woutervenema.nl/index.php?/one-to-one/">Installation view</a></u> at Van Gogh Museum. More information <u><a href="http://www.vangoghmuseum.nl/nl/zien-en-doen/tentoonstellingen/geweest/when-i-give/wouter-venema-one-to-one">here</a></u>. Acrylic on wall, variable size. <em>Plateaus</em> is a flipbook (photo copy, 9 x 14 cm, 176 pag., edition of 10) about a person who dives into the water. Underwater he stumbles onto a big rock which appears to be the head of a statue. <em>Plateaus</em> is made with a Super-8 underwater camera. The 166 frames of the film are printed and manipulated with water. These wet prints were then stacked into a pile, absorbing the ink of the surrounding prints. In this way they have further affected each other in a organic way. Acrylic on wall, variable size. <em>Comma</em> (acrylic and image transfer on wall, variable size), is a still from an unfinished 16mm film. In the film several characters are unmasking a mask (made by Miloš Šedivý) under which they wear a second mask. After I filmed these actions I manually erased all the backgrounds with black ink directly on the film strip. This refers to a technique used in the early days of film, called an in-camera matte shot. A glass plate with a black matte painting was put in front of the lens so the actor is separated from the background. By using this technique you could double expose the film with any environment you want. <a href="http://www.woutervenema.nl/index.php?/comma/"><u>Credits</u></a>. Image transfer on wall, variable size. <em>Body Language (Negative)</em> (acrylic marker on wall, variable size) is the original sign I replicated in <em>Body Language (positives)</em>. Image transfer on wall, variable size. <em>Nomade</em> (artist book, stencilprint, 19 x 14.4 cm, 104 pag., edition of 25) is a collection of short stories and pencil drawings made over a period of two years. Various drawings from <em>Nomade</em> were silkscreened. These seven prints form their own story called <em>Lacune</em>. Image transfer on wall, variable size. 
More information about the <em>Prism (Pseudonyms)</em> series <u><a href="http://www.woutervenema.nl/index.php?/prism-pseudonyms-i-ii-iii-iv/">here</a></u>. Screen print on paper, 100 x 70 cm, edition of 4. <em>One Book Reduced To One Page</em> (shredded first edition of De Aleph by Jorge Luis Borges translated by A. Sillevis published by De Bezige Bij in 1964, water, variable size) is made by putting a book in a blender. I pressed the book pulp directly on a wall. 
Pencil on paper, 21 x 14,8 cm. Coloured pencil on wall, variable size. Image transfer on wall, variable size. Image transfer on wall, variable size. Coloured pencil on paper, 70 x 50 cm. The drawing <em>Year (Travel Journals)</em>(black pencil on paper, 100 x 140 cm) depicts an abstract space with five sides. For each side I used a still from five filmed train trips. These stills were put in perspective. Screen print in collaboration with <u><a href="http://www.koentaselaar.nl">Koen Taselaar</a></u> on high gloss paper , 100 x 70 cm, edition of 2. Part of a series of 8 screen prints. <em>Cicade</em> (HD, stereo sound, 1 ' height='112' /> Glass paint on window, variable size. . The story <em>Tussenruimte</em> in braille. A lot of the images that <em>Tussenruimte</em> contains are based on this story. Embossed in 100x70 cm paper glued to a wall. Morse Code (acrylic and screen printing ink on wall, variable size) depicts a detail of a screen. A medium and a barrier. <em>Folded Face</em> (hand-drawn black and white animation, HD, silent, 2Credits.' height='112' /> Acrylic and coloured pencil on wall, variable size. <em>Monument</em> (DV-PAL Anamorphic, stereo sound, 3 Echoes.' height='112' />