In her work, Lonneke de Groot examines how everyday space turns into a photograph. She tries to look anew at the spaces in which we eat, sleep, sit, read, etc. What is essential about them? And how can they transform into a two dimensional photographic image? On the one hand she makes a typology of everyday space; on the other hand she questions photography’s illusionistic qualities and thus its way of showing us these spaces.
In her photographs reality is manually manipulated, ranging from a small intervention in an existing place to a totally constructed environment. Her preferred material is paper; the form images themselves mainly take. She often departs from existing visual material, for example paintings. Study plays an important role in her work, be it in the process of making the work (researching the visual material) or in the subject (books, libraries).
The series Heda shows tablecloths floating against black backgrounds. The photographs are based on the paintings by the Dutch still life painter Willem Claesz Heda (1594-c.1680). Photographing paper models without a context she asks herself ‘what makes a tablecloth a tablecloth?’ Which connotation has it? And where do photography and painting meet or differ in representing a tablecloth?
She has been trained both practically (Gerrit Rietveld Academy) and theoretically (Philosophy and Photographic Studies).