What do you think s[edition] will do for the art market today?
It’s a great opportunity to buy art without the need of being well-heeled. You don’t earn the big bucks, but you can still own that one special piece you were craving for, knowing it is restricted to a limited number of editions. So art remains special and becomes accessible at the same time. s[edition] offers a unique platform for acquiring photography, painting, installation or digital animation. I’m sure there is a whole new market for this, and that it speaks to a generation for whom it is not obvious that they are accessible to “art” in any of the conventional ways.
Is it a goal to make (your) art as accessible as possible?
“Accessible as possible” sounds wrong, as if it was just a cynic marketing tool and nothing more. But there’s a whole different aspect to s[edition] that, yes, reaches people beyond the general art-interested-crowd. It is utterly democratic, if you want, and lowers the (sad) gap between people who love art, and can afford to own it, and those who love art, period, but are no in the chips. On s[edition] I can just share my love for photography, in my case, with “common humanity”, if I can put it that simple.
How are you planning on working with this medium (internet) in the future?
For years we cultivated our web-presence at Wenders Images, the photo company run by my wife and myself, so as many people as possible would get information about upcoming projects and exhibitions. s[edition] is another development for an internet platform that deals with art and photography, and as it hosts many different artists it will also bring people to my work who otherwise would not have connected. And still, I feel like in good hands, and issues like copyright and ownership are well taken care of.
Are digital artworks the future?
Yes and no, in my case. As much as communication and networking are digital and will never go back, my work is still largely based on analogue procedures. I still take all my photographs on roll film negative, and I’m very happy with that, even if my film work has long moved away from that, and as I’m embracing digital procedures and 3D in the narrative and documentary form. And standing in front of a print that is 5 meters (15 feet) wide is still a different story to seeing it on a small monitor…
Does s[edition] make us have to discuss even more what looking at art and owning art is about?
At least it is opening a door that shows us unknown aspects of these old questions. We are all used to “owning” part of our everyday reality on tablets and smartphones, and of having access on these platforms to a whole world of information, tastes, preferences, vices, images, movies, games… you name it. To add ART to that palette is only logical. Somebody had to come up with it, and I’m happy to be part of that new wave of “owning” art, looking at it and dealing with it.