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Kirsten Thys van den Audenaerde
Rhapsody

2016

$700
£519.79
€610.46
CA$973.90
A$1,090.37
CHF 571.72
MX$13,472.25
NOK 7,204.02
SEK 6,800.30
DKK 4,554.81
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About the Item

Rhapsody - 2016 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid, not mounted. Signature label with certificate. Artist inventory PL2017-110 Kirsten Thys van den Audenaerde The Naked Instant: Flesh, Film, and Impermanence
 Kirsten Thys van den Audenaerde’s work is a luminous testament to vulnerability—in both subject and medium. Based in Brussels and entirely self-taught, she came to fine art photography through an intuitive draw to the human body in its most honest form. The nude, for Kirsten, is not a symbol of seduction but of presence. It is gesture, soul, skin, and silence.
 By 2016, after years of working digitally, she found herself increasingly disillusioned by the clinical sharpness and endless retouching possibilities of the digital realm. The accidental purchase of The Impossible Project’s I-1 camera would mark a turning point—her introduction to Polaroid film, and the beginning of an artistic rebirth. That first photograph was not just a picture; it was a revelation. "Instant love," she recalls. Within weeks, her studio had transformed into a sanctuary of analog exploration, stocked with vintage Polaroid cameras and aging boxes of film.
 Analog photography reconnected her to something that had been missing—a truthfulness. The tactile imperfection of expired Polaroid film, with its soft tonal shifts and chemical whispers, mirrored the fragility and impermanence she sought to capture in her portraits. The images resist perfection; they glow with atmosphere, and like memory, they blur at the edges.
 Her project Polaroad: A Polaroid Road Trip traces its origins to a family visit in Utah in 2016. Traveling with only her Polaroid cameras, she documented her journey across monumental desert terrain. The encounter with those vast and timeless landscapes sparked a creative urgency. She returned the following spring, this time with a muse—a longtime model and friend—to juxtapose the unadorned human body with the ancient stillness of the American West. The result is a body of work that feels both elemental and spiritual, like a desert hymn sung in silver and sunburn.
 Later that same year, Kirsten returned solo, a tent in the back of her rented Jeep and a vision still unfolding. This second journey added depth and dust to Polaroad—and marked her first explorations using rare pack film, capturing fleeting, exquisite moments with a local model against nature's cathedral walls.
 In her practice, Kirsten shares an affinity with fellow artist Stefanie Schneider—not only in her use of expired instant film, but in her embrace of time’s degradation as a mode of truth. Both artists find beauty in what disappears. Both craft narratives from quiet, sunlit fragments.
 Kirsten’s work is ultimately a love letter to freedom: the freedom of the body, the freedom to wander, and the freedom to let go of control. Her dream? To circle the globe—twice—with her Polaroid cameras and enough expired film to last a lifetime. The only thing standing in her way, she says with a smile, is finding a fridge large enough to hold it all.

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