“The world is not always that perfect; pollution, violence and destruction have become part of the everyday on Earth, but as Louis Armstrong says: ‘It is not the world that is so bad; it is what we are doing to it.’ One could say that it would be wise to show what we do wrong on Earth and therewith try to change our attitude. I have not felt that this would be my calling though. I do rather feel that it is my task to show how fantastic the world is. The earth with all its life is an unique place that can amaze you incessantly. Its complexity is incalculable and endless.”
Danish born artist Joakim Eskildsen explores the poetry of places in a painter-like manner, analyzing moods and seasons, allowing the overwhelming beauty of landscapes to pervade the picture. His photographic process has always been influenced by the bookmaking form, as the book itself is perceived as an art object and not only a mere catalogue of artworks.
The constant moving trait of his life increased his tendency to explore, to empty his own mind by any preconceptions and start to actually see what other cultures and life-styles had to offer.
Mankind and nature have always had a special relationship, sometimes conflictual, sometimes respectful. We are part of nature, and at the same time we struggle to emancipate us, to rule it through technology: it’s however certain that we are actually used to perceive oruselves as gods, as the undisputed masters of a world we consider ours. Jakob Eskildsen marks this haughtiness and explores the exact placement of the borderline between our right to control nature and our constant alienation from it.
The result is a fascinating way to approaching to the world, a production of images permeated by the northern european light allurement: the most interesting element of his work is the clarity, the ability to capture a dreamlike and evocative atmosphere without appealing to any intellectual refinement. Eskildsen’s works are a true revelation, as the same landscape reveals itself in the exact moment we start to look with the innocence of a child, when we rediscover our imaginary scope and our chance to create inner, fictive spaces.