Simone Mudde (1989) is a Dutch artist living and working in London. She Recently graduated her Master’s degree at the Royal College of Art in London and is selected for Bloomberg New Contemporaries 2019. She is currently working on a commission for the Geffrye Museum in London and will attend EKWC's Sunday Mornings residency in 2020.


She has exhibited her work in various institutions and events: Unseen Amsterdam (together with the London Alternative Photography Collective, 2019), RK Burt Gallery (Surface DEEP, 2018), Fotodok (Why Work? 2018),The Photographers Gallery (The London Alternative Photography Collective Takeover, 2017), Art Rotterdam (Prospects and Concepts2017), Fotomuseum Winterthur (Plat(t)form 2017) Breda Photo (You 2016), Nederlands Fotomuseum Rotterdam (Quickscan #2 2016), Stedelijk Museum Amsterdam (On the Move 2014), Photoville New York (2013) Foamlab, Amsterdam (Phototown 2013) and Fotofestival Naarden (Don’t Stay Here 2013).


Mudde's works are represented in the collections of KPMG, Leaseplan Corporation as well as various private collections. Her publications have furthermore been acquired by the collections of Stedelijk Museum (Amsterdam), Museum of Modern Art (New York), Yale Art Library (New York), New York Public Library (New York).


For her master degree she received scholarships from Bernhard cultuurfonds, Dr. Hendrik Muller Vaderlandsch fonds, Stichting Vrijrouwe van Renswoude and Stichting Niemijer. In 2015 she received a Young Talent Stipend from the Mondriaan Fonds to create new work in collaboration with Olivier van Breugel. 


Besides her nomination for Bloomberg New Contemporaries she was nominated for the Almacanter Awards (2018), won the Labyrinth Lab Award (2018). In 2017 she was shortlisted for the European Photography award prize. Together with Oliver she was selected for Plat(t)form by Fotomuseum Winterthur and received a star as an honourable mention for being “especially convincing”. The book ‘Between screens received A silver medal at the European Design Awards. In 2011 she was invited for Roy Kahmann’s one-year masterclass for young talent. 

MRH: How do you develop the processes for each photographic experiment? 


SM: Three years ago I had never worked in a colour darkroom before. Starting a masters degree a the royal college of art inspired me to learn more about colour processing and printing. My lack of knowledge became an incentive and through explorations and experiments I learned what colour printing is al about. Photography (analogue in specific) is such a complicated medium where a lot of things happen while you can’t even see it. While figuring out how thing works I stumble upon elements that become a new trajectory. 


To figure out how to make a certain colour with the filters of the enlarger I started making colour-tests by using moulds with pieces of cardboard that would expose a little square to a certain light setting. In the colour darkroom everything works in reverse: Red light becomes Cyan and Green light becomes Magenta on paper, when the Cyan and Magenta mix they form Blue again. The work B of RGBCMYBGR is part of a triptych that simplifies this information into a visual object. 




MRH: What is your relationship with the colour blue?


SM: It was only when I started working in the darkroom that I became interested in learning more about colours. Before colours just where. Working without an image or negative forced me to take full control and responsibility on what colours I work with and therefore made me more aware of the colour spectrum, their meaning and their relation to each other. While I was doing research on this I was also writing my Masters dissertation An artist guide into the Unknown, in the age of information. The colour blue perfectly represents the unknown, the immaterial and remote that however tactile and close up it is, always is about distance and disembodiment as Rebecca Solnit writes in here book A Field Guid In Getting Lost. That what the colour blue stands for perfectly relates with how I often feel as an artist and history taught me that I’ve not been the only artist with an obsession for the colour blue.




MRH: Can you tell us a bit about the work that you will be putting into the show in September?



SM: Besides the work B of RGBCMYBGR (2018) I am showing a work that derives from my series Folds where I record my own labour within the remnants of the folding process. In doing so, and subsequently exposing pieces of photographic paper in complete darkness: the paper is flattened during the development process. The sculptural state of the paper in its folded form exists momentarily in its production, however is never fully visible after completion. In this way, one can merely perceive its once-sharp edges and three-dimensional form through the merging colours of the flat print. 


The new series of prints that I am making for this show are inspired by the difference between the colour blue of the sky and the blue of the ocean. Both the ocean and the sky are not really blue but its the way the light is scattered from the atmosphere and the way it is reflected onto the water that makes them look blue. I see a similarity in the process I use for my folds series, only I get to fix the colour onto the photographic paper.   

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