Update: Ruud van Empel’s Boy & Girl sold for £68,750, or $88,688.
What you see: Ruud van Empel’s Boy & Girl, the first of a limited edition of seven prints, created in 2008. Phillips estimates it at £50,000 to £70,000 (about $64,000 to $90,000).
Who is Ruud van Empel? He’s a Dutch visual artist who pushes the boundaries of photography. Boy & Girl belongs to his World series, which, along with the Moon and Venus series, brought him international recognition. He will turn 59 in November.
No, really, what is this? “It is completely fictional,” says Genevieve Janvrin, co-head of photographs for Phillips Europe. “The children don’t exist. The forest doesn’t exist. It’s all in his head. For every one child you see, he’ll photograph five. He takes photos of leaves, Dutch foliage, and will move the leaves around. It literally takes him months to create each work, The Photoshop tool is his paintbrush. It’s almost like a puzzle, putting pieces together in a different way that confuses you and seduces you at the same time.”
Boy & Girl is a dye destruction print that has been face-mounted on Plexiglas. How do these techniques affect the artwork? “It’s a very shiny print–incredibly shiny,” says Janvrin. “In addition to that, it’s face-mounted on Plexiglas, a very highly reflective polished glass. It really shines at you. It’s not matte at all–full gloss. And it [looks] squeaky clean. The boy is in white shorts in a muddy forest, but no one is mucky. This is not reality. It’s all incredibly perfect and beautiful.”
It’s also fairly large, at 95 inches by 67 1/2 inches. How does that enhance its impact? “When you stand in front of this one, you really feel like you’re there. The foliage is all-encompassing,” she says. “There’s a huge amount of depth in the work. His attention to detail is incredible.”
How often does Boy & Girl come up at auction? This is only the second to appear. Another from the edition sold in 2015 at another auction house for £80,500, or around $126,000.
What else makes Boy & Girl compelling? “For me, personally, there’s a lot more going on than in some of the others [from the series],” she says. “The children are not looking at the viewer, not engaging you. It creates much more of a narrative. They’re moving–where are they going? And they’re very small. That foliage usually comes up to your ankles. You get the sense that the children have almost been shrunk. He usually puts [his child models] in very gendered clothes, but the clothes on these two are very pared down. It’s either an aftermath, or an Edenesque beginning–a powerful discovery of who they are and what they are doing.”
Text is copyright Sheila Gibson Stoodley. Image is courtesy of Phillips/Phillips.com
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