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=> Interview Les Boutographies - recontres Photographie de Montpellier 2017

How did you end up doing photography?

I worked as a lawyer for 18 years, and then went on to art history and from there to art school. Photography always had my interest; I think it's the most challenging medium, because everybody can make photographs, everybody has an opinion. It's like you have to solve a problem when you're working with photography. I wanted to do photography because I always was interested in the fact that, like in painting you have so many different styles, and I had the feeling that, in photography, something was missing. I had the feeling that I could do something and find something new.

Can you explain your creative process to us?

I use a scanning device. Mostly, I put it down in the shade, like underneath a tree, or I make a shade in front of it, or I move it... It's a very boring process, actually, because I don't know what the result will be. I only know what the weather is like, and how much intensity of light I get - I kind of developed a know-how about that. But 90% of the stuff I make is not usable. The images I'm showing at les Boutographies were made with just one scanning device, the same type device. I don't need electricity for that scanner. So I can go further away, further out in the landscape, and look for different light circumstances. I've also been working above the water; that also gave unexpecting results (laughs). It's always about light and movement, and the scanner uses that information and translates into colours. The scanner I used for these images scanned for 8 minutes 8 seconds, so you're looking at that duration.

Why is it important that the devices do such a substantial part of the work?

Of course I choose which images I show, that's on me (laughs). But I like that I cannot foresee what the result will be, so it's not the outcome of a concept or of a composition idea. It's accidental outcome of the algorithmic process in the device. I think it's interesting, because you cannot think of what the image will be - I've never had the same image twice, and I can never make two identical images.

What do you imagine the viewers' reaction can be, when faced with such a peculiar creative process and the resulting images?

Most people like it, you know. It puts a smile on their face; they don't know what they're looking at, but they still have an opinion. That's what I want to implement - you don't have to know what you're looking at, you are free to see in this world what you want. People are surprised, of course, that it's photography. I'm surprised myself (laughs)! People have been positive, so far. When I tell the story, then they can relate to it more; the story's important.
=> De Witte Raaf Quickscan NL #2

"Jannemarein Renout gebruikt bijvoorbeeld documentscanners om efemere fenomenen (reflecties in water, atmosferische verschijnselen) te scannen. Van een hemel of een reflectie is er in haar beelden echter niets meer te herkennen: we zien enkel nog abstracte, heftig gekleurde stroken, zonder enige verwijzing naar de visuele werkelijkheid. De tegendraadse manier waarop de scanner wordt gebruikt, roept een aantal intrigerende opposities op: de gecontroleerde omgeving van het kantoor wordt verlaten voor de veranderlijke buitenwereld; het statische tekst- en beelddocument wordt vervangen door natuurlijke en ongrijpbare fenomenen; in plaats van extreem nabij bevindt het te registreren onderwerp zich in de verte."
=> INTERVIEW @PF

"Abstracte Lichtkunst dankzij 'doodgewoon' scan apparaat. Renout gebruikt een bijzondere techniek ...."
=> PORTFOLIO REVIEW @NewDawn

"Jannemarein Renout (1969) omschrijft haar werk als misleidend. Haar interesse ligt in het verkennen van de grenzen van het medium waarmee ze werkt. Hoe ze door misbruik van het medium ..."