Er is maar één moment
om de juiste foto te maken.

A. J. Verhoef



Coletiva de
Artes Plásticas

Ter gelegenheid van de 44e herdenking van 25 april 1974 is een expositie georganiseerd van verschillende disciplines waaronder fotografie, schilder- en beeldhouwkunst.


Fotograferen is voor
mij een levensstijl

In mijn vrije tijd bezoek ik regelmatig galeries en tentoonstellingen in musea op het gebied van de moderne kunst. Het Haagse Fotomuseum is een van mijn favorieten. In Portugal ga ik graag naar het Museum Serralves in Porto en Gulbenkian in Lissabon. De verschillende vormen van moderne kunst op kunstbeurzen en Internationale Art Fairs, zoals in Amsterdam, Rotterdam, Brussel en Lissabon, leren mij telkens weer op een andere manier te kijken naar mijn omgeving.

Tijdens mijn professionele werk als communicatie-adviseur ben ik ook een aantal jaren actief geweest bij het Haagse private museum Beelden aan Zee. Daar heb ik een aantal opleidingen gevolgd, zodat ik als gekwalificeerde rondleider en begeleider bij verschillende projecten op het gebied van de moderne beeldhouwkunst met veel plezier gewerkt heb. Ik heb in die periode vooral goed leren kijken en interpreteren, iets dat het fotograferen nog boeiender maakt voor mij.

Mijn naam is Ina Verhoef en heb lange tijd in Den Haag gewoond en gewerkt, onder andere bij de overheid. Mijn basis ligt in het cultureel werk en in de communicatie. Ik heb in Den Haag de Hbo-opleiding Cultureel Werk en Samenlevingsopbouw afgerond, in Utrecht mijn Communicatie-B certificaat gehaald en hierna een aantal jaren Sociologie aan de Erasmus Universiteit te Rotterdam gevolgd.

Sinds vier jaar zijn er exposities van mijn foto’s in het district Coimbra en Viseu.


"One Chance to Take the Right Photo"

By Cynthia Adina Kirkwood

Abrahamina Verhoef is more than a photographer. She is a visual artist. Her photographs of nature are edgy, always instilling wonder and, sometimes, foreboding.

Her work, like that of the American painter Georgia O’Keefe, can transport an object from reality to surreality. In O’Keefe’s Summer Days, for example, an imposing sun-bleached deer skull with antlers floats above a diminutive yellow blossom and a tiny grouping of desert flowers in a cloudy sky above red hills.

Verhoef’s Tachyon also propels an everyday image to a place of fantasy. It is a photograph of a wildflower seen on roadsides in central Portugal. The tall blossom, which looks like deadly carrot, is photographed from below, looking up at a robust white tapering stem. At the end of the stem, green spokes shoot out clusters of yellow flowers into a blueish sky, disturbed by wisps of cirrus clouds and a blinding sun. A tachyon is a hypothetical particle that travels faster than light. Because of the particle’s speed, an observer would not see it approaching but would see two simultaneous images of it, appearing and departing in opposite directions. Scientists have not found any evidence for the existence of such particles. However, Verhoef manages to take a haunting photograph of the nonexistent.

Also in the Flowers series, a Verhoef photograph seems to pay homage to the still-life painting from the Dutch Golden Age. Verhoef, who is Dutch, pictures two glass vases. The smaller one in front holds a blue hyacinth and a stout vertical leaf. The other vase holds several flowers, including white freesias and a deep purple tulip. In between the two vases, a brown-tinged white rose has fallen on the counter. The withered rose could symbolize death, which is often represented in the 17th century paintings. The reflection of light and of the flowers on the glass vases is remarkable. Verhoef has the sensibility of a painter.

The photographer talks about “the cycle of life”:

On an early winter morning in my Portuguese garden, I saw something extraordinary. It was four degrees below zero. The wind and ice droplets in the air had worked together that night. On a large tree trunk, ice crystals were formed in beautiful patterns.

Because the sun was rising already, the miracle should quickly disappear.

Just in time, I was able to read the language of the wind and the air in the ice. And a little bit became visible about who was visiting there.

In her series, Ice Patterns, each piece is unrecognizable as ice. Only after the viewer has been alerted to the subject is it clear. Otherwise, the photographs are flourishing waves of grayish and bluish white, which are shaded expertly with light and shadow.

Verhoef also has a series called Flowers in Ice.  The roses, tulips and other flowers do not seem real. One piece, Water-in-Fire, astounds the viewer. Water droplets are in the foreground and columns of red stand tall behind them.

“There is just one chance to take the right photo,” she says.

“I have been following courses in the field of analog photography quite early. My photos are not edited afterwards. No Photoshop for me, just one chance to make the picture I have in mind. This is the creative and artistic challenge for me. There is only one chance to capture the perfect light, the intended aspect ratio, the proper contrast.”

This visual artist does not waste her chances. 

@ Cynthia Adina Kirkwood, journalist and author of Turn On, Tune Out

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