Lique Schoot, Self-portrait 07 07 02
Self-portrait 07 07 02

‘The Self-portrait most intrigues me; not only are the deepest feelings and emotions of the artist visible, but also how they stand in society.’

Lique Schoot is a multidisciplinary artist. She works in the tradition of the conceptual art. Since graduating in 1997, she has used the Self-portrait as a vehicle for exploring the nature of existence.

In 2003, Lique began to photograph herself every day. Finding a different aspect from which to capture herself, always hand-held and within arms-length, the photos are taken with a compact, analogue camera, such as the Leica Mini II. Each month, she has the film roll developed and digitized. Titled with the date they are made (year, month and day), these files are edited on the computer into various series, such as ‘LS diaries Self-portraits (b/w)’ and ‘LS diaries Fragments’. She thus creates a continuous and open-ended record of her existence.

The LS diaries contain more than five thousand Self-portraits. The visual diary varies in mood – some tearful, some calm, some confident, some imperious – yet the photographs are unsparingly honest. The invitingly quiet and mysterious photographs capture in a real way the vulnerability of the artist.
She explores the dual nature of identity as simultaneously the perpetual reinvention of the self and an equally willful projection of the other. Common emotions and great themes emerge from the quiet simplicity and persistence of her imagery.

Lique Schoot, Sequences 16 - 2017 - Photos on Ilford Paper on alu-Dibond - 138 x 395,5 cm I 54,3 x 395,5 in
Sequences 16 – 2017 – photos on Ilford Paper on alu-Dibond – 138 x 395,5 cm I 54,3 x 155,9 in


In her installations, ‘Sequences’, Lique shows human life in a poetic and cinematic way. She both directs and plays the lead, each day a frame in a conceptual movie. Inspired by Tarkovsky, the photos are an intuitive montage of film stills based on true life. The spontaneous, uncomposed pictures are a pure registration of felt experience. Understood as a film, ‘Sequences’ remains as close as possible to life itself. By giving the installations a poetic structure, the elusive and sublimated hidden phenomena of life are connected in a way that gives insight into the human condition. Our understanding of the meaning of the work flows naturally from our individual experience up to and including the work. This fragmentary poetic stream is an emotional appeal to the viewer to freely interpret a narrative and thereby participate in a deeper investigation of their own life.