Foam

Not a day goes by without one of our clients or colleagues commenting on photographs in our meeting rooms. They may reflect on the style of a photograph or ask why it is there. Discussion. That is what we wanted to achieve by displaying our collection of photographs in our Amsterdam office and on our homepage.

Photography museum Foam and De Brauw have started collaborating in 2010.

Geert Potjewijd, De Brauw’s managing partner says: “We would like to contribute to the cultural environment of Amsterdam and support young Dutch talented photographers. There is a natural match between Foam and De Brauw. Both organisations, with international ambitions, have quality as a basis.”

This month’s photo on our website
Falaise VI, 2014-2015 @ Misha de Ridder

Featuring geography, light, weather, and ephemeral phenomena, Misha de Ridder crafts photographs and video work of almost absurd brilliance. His quiet images evoke contemplation and intimacy, and invite us to look anew at what we think we know, to rethink our relationship to what surrounds and envelops us. The intrinsic connection between the perceptual and the conceptual is an important theme in the work. Reality is an act of deep imagination; mechanical representations forged in the machine eye of the camera reveal to us another, almost magical perspective. The camera helps us to see the way we are intertwined with the world, to make palpable that we are part of this entity that transcends us. Something that is both as real as it is incomprehensible.

This photo is part of the book Falaise, which contains abstractions of the chalky cliff faces in Normandy, France, harnessing the revelatory power of photography to capture the continuous metamorphosis of the cliffs. Once a celebrated holiday destination, where Monet is believed to have developed Impressionism, the area has become forgotten as it is encroached upon by the sea, which is gradually swallowing its surroundings.

“I see something special and show it to the camera. The moment is held until someone sees it. Then it is theirs.”

Sam Abell