Sophie’s work consists of her fascination for what it means to be human. Human nature, dealing with the passing of time, transience, decay and loss are returning subjects in her work.
For human beings, these subjects are often emotionally charged, while in nature they’re the most common thing in the world. Sophie shows and questions this contrast in her work by creating images in which the human body is combined with natural materials. Words are an important part of Sophie’s work as well, and this shows in her use of titles. Her photographic series tell a story both visually and through language.
I Followed The Footsteps Of A Stranger (2023) - In “I followed the footsteps of a stranger” Sophie embraces the element of nostalgia, resulting in images that feel both familiar and mysterious. The pitch black backdrop where body parts seem to appear from, or disappear into, relates to the hidden, the secretive and the unknown, and as a result it creates an air of mystery.
Solo exhibition Living Landscapes, Installation View at Root Gallery (2022) - Positively challenged by the architecture of the gallery space, Sophie has developed something special and out of the ordinary. In this exhibition, she brings together photographic imagery and installation, creating an experience that allows spectators to connect with her work in a different way. Dried flowers form a garden in the centre of the gallery space, and are reflected in the photographs on the surrounding frames. These different dimensions create visual as well as conceptual depth. To what extent are we still connected with nature? Do we still have an eye for her beauty in all her stages?
It Feels Like Falling (2020) - The title ‘It feels like falling’ is about both silence and existence, referring to the question: If a tree falls in the forest and no one is there to hear it, did it actually make a sound?
The images show fragile flowers, enclosed and therefore preserved by ice. By touching and cherishing them, you will simultaneously undo the preserving and thereby alter or damage them.
The project refers to what trauma-specialists call ‘frozen thoughts’ that cause traumatized people unable to access a certain memory. This frozen quality complicates verbalization and so the trauma remains to exist in silence.
In Daylight During Nighttime (2020) - The works in this series are a continuation of Sophie her fascination with human nature, dealing with the passing of time, transience, decay and loss. For human beings, these subjects are often emotionally charged, while in nature they’re the most common thing in the world. Sophie shows and questions this contrast in her work by creating images in which the human body is combined with natural materials.
Time Is All I’ve Got (diptych 2018) - The diptych 'Time Is All I've Got' show the hand of my mothers, and my own. Sand represents time, slipping through our fingers. The work is about lineage, about the passing of generations.
