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      <image:title>Personal work - XIII</image:title>
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      <image:title>Personal work - XXXI</image:title>
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      <image:title>Personal work - XXXI</image:title>
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      <image:title>Personal work - XXXI</image:title>
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      <image:title>Personal work - XXXI</image:title>
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      <image:title>Personal work - XXXI</image:title>
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  <url>
    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj</loc>
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    <lastmod>2021-03-05</lastmod>
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      <image:title>Personal work - III - Case III</image:title>
      <image:caption>Case III was developed after my Master at LUCA School of Arts (BE). It was the second case study of Le-donner-à-voir. I investigated the process of image-making, and the methods for creating it. Case II was a diptych although it tried to grasp an understanding of the self-contained picture. I understood that the idea of a variation could help me develop an insight, so as a result I returned to my DIY studio and tried to translate Case II into a singular picture using the same method, yet a different visual language.</image:caption>
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    <lastmod>2021-03-08</lastmod>
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      <image:title>Personal work - VII - Case VII</image:title>
      <image:caption>Envisioned with the existential problem of artist hood and recurring decisive turning points in one's career - purely from a creative point of view - the young artist promptly, regularly and repeatedly addresses the issue of the self portrait. With the portrait as an artist, I, as a young woman, side by side with Pollaiuolo's warrior, the artist draws the theme of Le-donner-à-voir on herself. The young soldier, the curas adorned with scenes from the life of Hercules, resolutely faces the threatening and simultaneously redemptive future. Thus identifying the creative process of an image maker with the fate of personal life. The simple and small artist's apartment is turned into a spacious atelier. Thanks to the bold and well thought out use of mirrors the illusion is kept high. The young warrior, under protection of Hercules cherishes another illusion, namely that heroism is due.</image:caption>
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      <image:title>Personal work - VII - Case VII, Variation I</image:title>
      <image:caption>It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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  <url>
    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-44kdt-47r64</loc>
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    <lastmod>2021-03-05</lastmod>
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      <image:title>Personal work - XIV - Case XIV</image:title>
      <image:caption>The so-called Casco-Polyptych was conceived and produced during a short 'n+1' residency at Cas-co, Louvain. It introduced the following stage in Le-donner-à-voir project: ‘Ekphrasis'. Originally ekphrasis or an ekphrastic image refers to a lyrical and narrative description of a visual scene on the shield of Achilles. But it was so eloquently formulated that it became a work of art in itself. Within Le-donner-à-voir project the ekphrasis is a turning point leading to the strategic and irreversible choice for the polyptych as a presentation model. An ekphrasis can clarify another image by being a sketch of it: the means-end relationship is inverted by creating the conditions for another picture. An ekphrastic image is a meta image in its own right because it provides us with new ideas about how the image is created and how it works. The images are constructed such that they hold the attention during a certain period of time. Associations, references and memories are postponed in order to let our investigative look do its work.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Personal work - XIV - Case VII, Variation I</image:title>
      <image:caption>It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
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  <url>
    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-7b8ed</loc>
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    <lastmod>2021-06-06</lastmod>
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      <image:title>Personal work - XIV - Case XIV</image:title>
      <image:caption>From the very start of my creative career I had the urge to share my process with people. For that reason I got in contact with The Brussels Art Institute. Soon after, the pupils started visiting me during a residency. One day their teacher took a snapshot that captured the magic happening in the studio, between me and the pupils. I decided to reconstruct this snapshot at BAI_, their house of knowledge.</image:caption>
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    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-44kdt-47r64-7tg3t</loc>
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    <lastmod>2021-03-05</lastmod>
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      <image:title>Personal work - XVII - Case XIV</image:title>
      <image:caption>During a visit to the Carolus Borromeus Church, a baroque gem, in Antwerp, I ran into a group of restorers who were working on a few panels. Off course the underconstruction-theme is a key to understand images and the way they are composed and are functioning. But it may be too simple an approach to rely upon, and too evident to connect to the project of Le-donner-à-voir. What really interested me was the ongoing registration within an existing restoration underway. It underlined the importance of space and the way images are adjusted to the existing space. But most of all: the way a space is adapted to an image or artwork these days.</image:caption>
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      <image:title>Personal work - XVII</image:title>
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      <image:title>Personal work - XVII</image:title>
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      <image:title>Personal work - XVII</image:title>
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    <lastmod>2021-03-10</lastmod>
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      <image:title>Personal work - XVIII</image:title>
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      <image:title>Personal work - XVIII</image:title>
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      <image:title>Personal work - XVIII</image:title>
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    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-l6tn6</loc>
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    <lastmod>2022-11-04</lastmod>
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      <image:title>Personal work - XXIII - Case XXIII, doing art is questioning how to do it</image:title>
      <image:caption>Doing art is questioning how to do it is another variation on the sub-theme Homage &amp; Conflict. A theme where I researched how the idea of iconoclasm can be related to parts of the creative process of the image maker. In this single image, knowledge is being passed on by offering a book. The book has been wrapped - like most presents are - with a page out of an earlier publication ‘The banishment on beauty has been carried out by a set of political complaints; notes by an artist waiting for a breakthrough’.</image:caption>
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      <image:title>Personal work - XXIII</image:title>
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      <image:title>Personal work - XXIII</image:title>
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      <image:title>Personal work - XXIII</image:title>
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      <image:title>Personal work - XXIII</image:title>
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      <image:title>Personal work - XXIII</image:title>
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  <url>
    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-44kdt-47r64-7tg3t-4e2xt</loc>
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    <priority>0.5</priority>
    <lastmod>2021-03-08</lastmod>
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      <image:title>Personal work - XX - Case XIV, homage &amp; conflict</image:title>
      <image:caption>An event in the Kunsthistorisches Museum in Vienna during the aftermath of the first world war caught my attention. The Italians claimed several dozen works from the famous collection of the KHM. In response to the confiscated works of art hung in it initially empty frames in the museum. The image of a museum exhibiting empty frames is paradoxical and intriguing. The image of a museum with empty frames symbolizes the precarious times we live in. In the lee of uncertain political and crisis times, art and culture are targeted and threatened. In a power vacuum, principles melt like snow in the sun and they haggle with works of art without scruple. I would dare to take it even further: the images themselves are threatened and the image maker is forced, powerless, to stand on the sidelines. The disregard or disdain of images or the subordination of images by geo-political games can be interpreted as a contemporary iconoclasm. In this sub-theme of Le-donner-à-voir, namely Homage &amp; Conflict, iconoclasm becomes related to the image maker herself. Homage does not exist without conflict. References to 'Painting' with a capital P and an accompanying pictorial tradition does not merely imply acceptance of that tradition. It also immediately imposes limitations to that same image maker. The image maker is therefore in a permanent conflict situation. Therefore, paradoxically, iconophilia becomes compulsive and necessary linked to iconoclasm. It makes the image maker ipso facto an iconoclast.</image:caption>
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      <image:title>Personal work - XX</image:title>
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      <image:title>Personal work - XX</image:title>
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      <image:title>Personal work - XX</image:title>
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      <image:title>Personal work - XX</image:title>
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      <image:title>Personal work - XX</image:title>
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      <image:title>Personal work - XX</image:title>
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    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-44kdt-47r64-7tg3t-4e2xt-3xh6g</loc>
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    <lastmod>2021-03-08</lastmod>
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      <image:title>Personal work - THE ARCHIVE HOTEL - THE ARCHIVE HOTEL</image:title>
      <image:caption>Concept, web- &amp; publication design THE ARCHIVE HOTEL is an autonomous online platform for artistic research dedicated to the artist’s ARCHIVE, embracing HOMAGE &amp; CONFLICT. THE ARCHIVE HOTEL debates the idea of creating images as a reaction, an answer, a consequence or product of another image. Each three months we release a new publication featuring artists of various media who give us an insight into their process and methods when dealing with their archive. Take a look at our website to consult current and previous editions of THE ARCHIVE HOTEL.</image:caption>
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      <image:title>Personal work - THE ARCHIVE HOTEL</image:title>
      <image:caption>Printed version ed. 6 with contributions by Dieter Durinck &amp; Studio Studio</image:caption>
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      <image:title>Personal work - THE ARCHIVE HOTEL</image:title>
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      <image:title>Personal work - THE ARCHIVE HOTEL</image:title>
      <image:caption>Online backcover ed. 1</image:caption>
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      <image:title>Personal work - THE ARCHIVE HOTEL</image:title>
      <image:caption>Online introduction ed. 2</image:caption>
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      <image:title>Personal work - THE ARCHIVE HOTEL</image:title>
      <image:caption>Online introduction ed. 5</image:caption>
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      <image:title>Personal work - THE ARCHIVE HOTEL</image:title>
      <image:caption>Online contribution by Shervine Sheikh Rezaei for ed. 5</image:caption>
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      <image:title>Personal work - THE ARCHIVE HOTEL</image:title>
      <image:caption>Online introduction ed.4</image:caption>
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      <image:title>Personal work - THE ARCHIVE HOTEL</image:title>
      <image:caption>Flyer for the exposition of THE ARCHIVE HOTEL at Cas-co Leuven</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-44kdt-47r64-7tg3t-4e2xt-3xh6g-yb8ls</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-03-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/60362c43a7a6c662f82eafb1/1615221626612-3IJXV0O5FWVOAS0TTJKH/3Dbox-+side1.jpg</image:loc>
      <image:title>Personal work - THE HABIT OF KNOWLEDGE - the habit of knowledge</image:title>
      <image:caption>Concept &amp; bookdesign The habit of knowledge is a small series of publications that aspires to investigate the function and form of knowledge within an artistic practice. The habit of knowledge was brought to life to consciously investigate these methods that we follow intuitively. Although the word ‘intuition’ sounds like an act that arises from feeling and emotion, it is based on knowledge: Knowledge derived from experience. In many cases we have been taught knowledge as if it were a rigid structure. Unwittingly our intuition reflects this rigidity. Conversely the habit of knowledge aspires to initiate a process of transformation through a slow building process of knowledge as a soft and submissive form. Vol I: Anne Manteleers, Bärbel Praun &amp; Flaminia Celata, Céline Mathieu and Les Monseigneurs. Vol II: Angyvir Padilla, Ayrton Eblé, Bram Van Breda and Stien Bekaert.</image:caption>
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      <image:title>Personal work - THE HABIT OF KNOWLEDGE</image:title>
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      <image:title>Personal work - THE HABIT OF KNOWLEDGE</image:title>
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      <image:title>Personal work - THE HABIT OF KNOWLEDGE</image:title>
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      <image:title>Personal work - THE HABIT OF KNOWLEDGE</image:title>
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  </url>
  <url>
    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-44kdt-47r64-7tg3t-4e2xt-3xh6g-yb8ls-z3r3m</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-03-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/60362c43a7a6c662f82eafb1/1615738300506-Z3JQ8249JJMY6HD04UWP/cover.jpg</image:loc>
      <image:title>Personal work - Le-donner-à-voir - Le-donner-à-voir, essay</image:title>
      <image:caption>Concept &amp; bookdesign For years I have been photographing, mainly staged photography, using strategies that were never made explicit. Hence, the investigation I undertook. By coincidence I ran into David Campany's book about Jeff Wall's iconic photograph Picture for Women and it inspired me to take a closer look at my own methods. My purpose is twofold. I try to describe the process of image-making, i.e. how an image is conceived and the methods for creating it. And secondly I try to describe the nature of a singular picture or selfcontained picture within the photographic medium. My research, in both words and images, touches on the very core of what William Mitchell calls a metapicture . The unifying theme of my investigation is a comparison between the above mentioned image Picture for Women and the famous Las Meninas by Diego Velazquez. Both images made a strong impression on me. These are two singular images which are found to be metapictures and also bear several similarities. What Campany writes on Picture for Women is surprisingly easily applied to the more than three hundred year old painting of Velazquez (provided a number of adjustments). This lead me to a certain strategic dissection of the metapicture in both my investigation and in my photographic practice. Throughout my investigation I kept an account in order to have a feedback during the performance of my research in the improvised photo studio. This investigation demonstrates partly the impossibility to capture and to seize and even to understand images. A certain limited understanding of how images evolve and of strategies to get satisfying images was obtained, but the question of why certain images work is not answered at all. The title Le-donner-à-voir is derived from the improper use of a term that Kaja Silverman uses in connection with her essay about Cindy Sherman: given-to-be-seen. I do hope my words and images may become a donner à voir, i.e. that they are able to transfer and display something to see, to ponder and to enjoy for she or he who bears a love for images.</image:caption>
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      <image:title>Personal work - Le-donner-à-voir</image:title>
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      <image:title>Personal work - Le-donner-à-voir</image:title>
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      <image:title>Personal work - Le-donner-à-voir</image:title>
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      <image:title>Personal work - Le-donner-à-voir</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-44kdt-47r64-7tg3t-mnecn</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-03-16</lastmod>
    <image:image>
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      <image:title>Personal work - Printmaking - Printmaking</image:title>
      <image:caption>In 2018, I decided to take a step back from this fast world dominated by digital media and turned to slowing down the production process. I went back to school to get into printmaking. On this page you can find various works and experiments made from screen prints and linocuts.</image:caption>
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      <image:title>Personal work - Printmaking</image:title>
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      <image:title>Personal work - Printmaking</image:title>
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      <image:title>Personal work - Printmaking</image:title>
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      <image:title>Personal work - Printmaking</image:title>
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      <image:title>Personal work - Printmaking</image:title>
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      <image:title>Personal work - Printmaking</image:title>
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  </url>
  <url>
    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-7b8ed-9j6fg</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-06</lastmod>
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      <image:title>Personal work - XXVIII - Case XXviii</image:title>
      <image:caption>This singular image exposes the conceivable catalysts of the creative process of an image maker. Case XXVIII continues to reflect upon the theme of ‘self portrait as an artist’ that started off with Case VII. This visual translation has its origin in the texts Things I don't want to know by Deborah Levy (2013). A powerful feminist response to George Orwell's essay Why I write (1946) about the peculiarities of a writer's life and the act of writing. As an image-maker I relate to this particular discourse and by consequence found refuge in her convincing commentary on authorship. “I realized that the question I had asked myself while writing this book was (as surgeons say) very close to the bone: ‘What do we do with knowledge that we cannot bear to live with? What do we do with the things we do not know?’ I did not know how to get the work, my writing, into the world. I did not know how to open the window like an orange. If anything, the window had closed like an axe on my tongue. If this was to be my reality, I did not know what to do with it.”</image:caption>
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      <image:title>Personal work - XXVIII</image:title>
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      <image:title>Personal work - XXVIII</image:title>
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      <image:title>Personal work - XXVIII</image:title>
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      <image:title>Personal work - XXVIII</image:title>
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  </url>
  <url>
    <loc>https://www.ashbowland.com/work-1/project-four-3e4fj-44kdt-47r64-7tg3t-4e2xt-3xh6g-rck26</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2022-06-13</lastmod>
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      <image:title>Personal work - Short description (work title) - short decription</image:title>
      <image:caption>( Text in progress) (Work in progress)</image:caption>
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      <image:title>Personal work - Short description (work title)</image:title>
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      <image:title>Personal work - Short description (work title)</image:title>
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      <image:title>Personal work - Short description (work title)</image:title>
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      <image:title>Personal work - Short description (work title)</image:title>
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      <image:title>Personal work - II</image:title>
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    <image:image>
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    <image:image>
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      <image:title>Personal work - XXVI</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/60362c43a7a6c662f82eafb1/d9799a37-3289-4ff0-8555-ad5ab77b38e1/Case+XXV+-II.jpg</image:loc>
      <image:title>Personal work - XXVI</image:title>
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    <image:image>
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      <image:title>Personal work - XXVI</image:title>
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    <image:image>
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      <image:title>Personal work - XXVI</image:title>
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    <image:image>
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      <image:title>Personal work - XXVI</image:title>
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      <image:title>Personal work - XXVII</image:title>
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    <image:image>
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      <image:title>Personal work - XXVII</image:title>
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      <image:title>Personal work - XXIV</image:title>
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    <image:image>
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      <image:title>Personal work - XXIV</image:title>
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    <image:image>
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      <image:title>Personal work - XXV</image:title>
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    <image:image>
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      <image:title>Personal work - XXV</image:title>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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      <image:title>Personal work - Untitled</image:title>
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      <image:title>Personal work - Untitled</image:title>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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    <image:image>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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    <image:image>
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      <image:title>Personal work - Untitled</image:title>
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      <image:title>Personal work - Untitled</image:title>
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