Rosemin Hendriks
LUMC Pride
We found ourselves drawn to this self-portrait. The artist looks directly at you, yet does not fully let you in. By omitting recognizable details and emphasizing only a few features, such as the red lipstick, the artist creates an image that feels both personal and distant at the same time.
We recognize that tension. Many people within our network know what it is like to constantly weigh how much of themselves they want to reveal. Sometimes out of caution, sometimes out of habit, and sometimes because an environment does not yet feel safe enough. The work reminds us how valuable it is not to have to present a different identity or hide part of yourself anywhere you go. That is what we, as a network, are committed to: an LUMC where everyone feels welcome, seen, and free to be themselves.
…We found ourselves drawn to this self-portrait. The artist looks directly at you, yet does not fully let you in. By omitting recognizable details and emphasizing only a few features, such as the red lipstick, the artist creates an image that feels both personal and distant at the same time.
We recognize that tension. Many people within our network know what it is like to constantly weigh how much of themselves they want to reveal. Sometimes out of caution, sometimes out of habit, and sometimes because an environment does not yet feel safe enough. The work reminds us how valuable it is not to have to present a different identity or hide part of yourself anywhere you go. That is what we, as a network, are committed to: an LUMC where everyone feels welcome, seen, and free to be themselves.
The work reminds us how valuable it is not to have to present a different identity or hide part of yourself anywhere you go. That is what we, as a network, are committed to: an LUMC where everyone feels welcome, seen, and free to be themselves.
About the work
Rosemin Hendriks (1968) takes a photograph of herself for each drawing, which she then draws on paper with dark charcoal lines.
Although Hendriks takes herself as a starting point, she does not strive to evoke resemblance and her drawings do not serve for self-examination. Every portrait is therefore different. Her portraits look smooth and unnaturally empty due to the clean lines and the omission of characteristic details. In this way, she creates distance from herself and with the viewer.
Nero pencil and pastel on paper, 42 x 29.7 cm, 2014