But a exhibition’s many inclusive organisation is a family portrait. “It started with a array of commissions, and afterwards we realised that it’s a pleasing thesis for me,” Dijkstra explains of her fast affinity for a familial, that has resulted in mixed depictions of siblings, photographed during home, over a march of her 30-year career. “I like a thought that a families will go on vital with their portraits,” she expands. “Every day, they will see how we decorated them, how they are solidified during a some-more or reduction pointless indicate in a past that will seem serve and serve away. Meanwhile, a family will continue to evolve, a differences will be hardly manifest from day to day, so it’s a unwavering mural that will make them unwavering of all a changes. That will make a mural a kind of baseline, a durability sign that time goes by.”
The flitting of time is a musical thesis in Dijkstra’s work, and she frequently earnings to her sitters to constraint them as they grow and change. Two pivotal array on display, Emma, Lucy, Cecile, (Three Sisters) (2008–2014) and Chen and Efrat (1999–2005), etch sisters: a initial grouping, 3 Dutch siblings of incompatible ages; a second, a span of Isreali twins. For both projects, Dijkstra shot a immature women over a array of years, poignantly watching their journeys from childhood, by a unavoidable awkwardness of adolesence (all frowzy tops, and lighthearted expressions), and out a other side. In any picture a backdrop is intentionally pared-back, enabling a protagonists to authority a full attention, while they in spin glance behind during us, their eyes focussed earnestly on a camera before them.