Arian Christiaens
Work: HomeWorks

Arian Christiaens has been working as a photographer and photography teacher since graduating as a Master at KASK (Ghent) in 2004.



Wat vertellen foto’s ons over de mensen van wie we houden, over de mensen tot wie we in verhouding staan? Wat vertellen foto’s ons over onszelf, en over hoe we in verhouding staan tot de ander? Brengt fotografie ons dichter bij de ander? Dat zijn de vragen die Christiaens zich in haar werk stelt, telkens via een persoonlijk en intiem narratief over familie en relaties. Centraal daarin staat, zichtbaar of niet, niet zelden Christiaens zelf.

Ook het medium waarmee ze dat doet, de fotografie, wordt in vraag gesteld. Is de lens een venster op de ander? Of veeleer een spiegel op onszelf en onze verlangens? Wat verandert er wanneer de fotograaf mee in het beeld stapt en mee onderwerp wordt?

Of het nu gaat om het documenteren van haar zus die vroeger haar broer was, het in beeld brengen van haar eigen gezin tijdens de pandemie of het zoeken naar overlappingen en verschillen in haar eigen verhaal en dat van haar moeder, wat Christiaens probeert te doen, is een beeld te creëren van zichzelf ten opzichte van de ander, en van de ander ten opzichte van haar.

Stefan Vanthuyne (08/2021)


Arian Christiaens’s photography does not provide a window on the world but is a means to capture a reality beyond the visible world. She compels us to slow down and invites us to auto-interpret her pictures and critically approach the medium itself.

Anja Hellebaut (2019)


10.11.2019, OFFPRINT Paris book signing 'Xenia'
16-03-2020 18h23 home
17-03-2020 12h51 home
18-03-2020 13h01 home
19-03-2020 13h59 home
20-03-2020 11h04 home
21-03-2020 15h14 home
22-03-2020 08h28 home
23-03-2020 18h10 home
24-03-2020 12h16 home
25-03-2020 12h17 home
26-03-2020 15h11 home
27-03-2020 15h13 home
28-03-2020 19h28 home
29-03-2020 09h00 home
30-03-2020 17h17 home
31-03-2020 17h15 home
01-04-2020 17h28 home
02-04-2020 15h20 home
03-04-2020 12h30 home
04-04-2020 13h57 home
05-04-2020 12h45 home
06-04-2020 18h11 home
07-04-2020 13h57 home
08-04-2020 19h12 home
09-04-2020 12h38 home
10-04-2020 16h45 home
11-04-2020 16h35 home
12-04-2020 11h44 home
13-04-2020 17h01 home
14-04-2020 11h32 home
15-04-2020 14h27 home
16-04-2020 14h56 home
17-04-2020 16h11 home
18-04-2020 09h24 home
19-04-2020 10h35 home
20-04-2020 17h40 home
21-04-2020 17h06 home
22-04-2020 19h44 home
23-04-2020 17h28 home
24-04-2020 15h17 home
25-04-2020 17h27 home
26-04-2020 14h00 home
27-04-2020 17h05 home
28-04-2020 17h07 home
29-04-2020 15h52 home
30-04-2020 19h06 home
01-05-2020 17h36 home
02-05-2020 12h24 home
03-05-2020 08h55 home
04-05-2020 16h49 home
05-05-2020 13h38home
07-05-2020 12h50home
09-05-2020 18h48 home
10-05-2020 16h29
11_05_2020 18h00 home
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1/55 16-03-2020 18h23 home
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Almost overnight, the long-nurtured project of making a portrait series of my own family bobbed back to the surface, with the Coronavirus lockdown providing the right time and context.
The daily pictures in the ‘HOME’ series are my way of conveying the threat from outside but also the slowing down and the interdependence between the members of our family. Each image fixes a moment in a time characterised by uncertainty as much as comfort and stillness.

The dynamic in and between our looks  is a defining element of the series. Looking into the lens is a means of looking outwards, to the Other, which is taken to be the viewer but also the threat, the invisible enemy which could potentially harm the family.

This ongoing series is a kind of ritual and a fixture for our family in these vulnerable times. Posting the ‘Home’ picture of the day on social media elicits interaction with our friends, family and a wider audience.

The added value of making this series for me personally lies in the overlay of my roles as an artist, photographer, mother, partner and model.

Each picture is the result of a brief but solid cooperation.
On the one hand, there is me, the maker of the picture, aiming for interesting light, playing with composition, positions and symbols in order to lay out my image.
Besides, there are the other family members, whose mutual relationships, individual moods, ideas and input all leave their mark on the final picture, which fills me, the maker, with an interesting tension between steering and letting go as well as a sense of urgency to shoot this moment of tension in a few clicks of the camera.

For all the apparent gravity, there is also a playful aspect to the series. We play a game in which we show ourselves to the camera, to an audience. The series is not conceived of as a reportage but as a document in which we stage our own play, which hovers between real and unreal. As does this bizarre situation.