Maarten Schuth

At the moment, till February 8th, the exhibition Preservation is showing in MixTup Gallery, Eerste Jacob van Campenstraat 59 in Amsterdam, together with Fraser Campbell’s The Wolf That Never Came. Please come by and have a look.


Preservation consists of a series of photographs, taken mainly over the last two to three years. Though varied, they are largely representative of my approach to photography and to constructing an image.

The pictures are a set of elements, lines and figures, which I brought together, or existing scene, framed by taking a photo. They are not stories. In fact, often the elements of the photos need the input or reflection of the viewer to bring them together.

Passage of time plays a vital role in this series. Whether it is the rhythm of the landscape from a driving car (Fading or Blue Night), the changing meaning and content of an image over the years, or the unreliability of our memory and how photos can construct our past.

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I think Sea Life (it’s in the small hallway), is probably central to the whole series, but I’ve been unable to put that into words. I’ll leave it to the viewer.

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Waterfall was an experiment in liberation. I had a clear concept in mind going to Iceland in 2012. The concept became a series of photos and the photos, through this exhibition, became prints, actual objects. It ends there, the night before this exhibition opened, I deleted all copies of the photo, from my hard drives, both RAW files and Jpegs. There are some small versions on my website, but not large enough to make prints.
The prints are all K3 Pigment on Hahnem├╝hle paper. There are five of them.
Before the end of the exhibition I’ll choose another 5 pictures, at least which I’ll ‘liberate’ (myself of), in the same way. But maybe all. I’d like your input on that one.


If I had done the same with the Outback series, originally taken in 1999, they would have turned out quite differently. They were taken on a slide film, positive, but some of the films were developed mistakenly as a negative film. I hang on to them, even though they were ‘broken’ and I had no plans on ever doing any further work on them. Digitization some 15 years later finally brought the real image to life.

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I’ve been a photographer since about the time I can remember, and a professional photographer (and film maker) for just under a decade. I’m not schooled as a photographer (with a mixed background in art history and marketing) and am mainly self taught, but lucky to have worked with and learned from some great photographers over the years; in fashion, art, corporate and experimental or vintage techniques and processes.
Experimenting with tools, techniques, concepts, cameras, papers, etc is important to me. It creates uncertainty, within an enormous range of possibilities, in combination generating a great amount of energy.
Uncertainty and energy probably sums it up.
I’d love to hear your opinion.