The conventional tropes that would overtake the photographic image existed even before the medium came into being, so that certain things were understood as "beautiful" and others not, mere happenstance absorbed by the indifferent lens. These conventions are pictorial of course, but they are also social, creating limits to what could be seen. Fleur van Dodewaard's playful work is about exactly this kind of "negative" visibility and although the pictures are themselves quite restrained, with their limited palette and staging, the effect in sum is unexpectedly critical. She is taking the "beautiful" image apart and has found only this rigid set of archetypes, a repression of the visible.
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