Frieke Janssens Pre-Mortem Memorial Portraits

Frieke Janssens-Photography Frieke Janssens-PhotographyFrieke Janssens-Photography

Have you ever thought about how people will remember you when you are gone? Do you wish to be remembered in a particular way? Perhaps with a specific outfit, or at a specific age? Why would you have someone else choose the picture? You have a choice while you are alive.

Belgian photographer Frieke Janssens is offering her services in order to create the ultimate headshot, the one that you would like on your grave and everyone’s minds once you’ve past away.

The eerie yet beautiful and polished headshots are Janssens’ way to change people’s mindsets when it comes to ideas of death and memory. The series of ‘Your Last Shot’  reflects a combination of the sitter’s wishes and the photographer’s style. With make up assistance, styling and post-production, Jenssen creates master portraits that defy the ugliness that death brings about. In a sense, having a say on what you’ll look like to those alive when you are dead is a way to take control. This will perhaps leave us a bit more at ease about the whole death process.

The ‘last portrait’ will be finished in porcelain so that it can actually be used when the time comes.

“My personal preference goes to static portraits as they were taken at the occasion of weddings at the beginning of the 20th century. My aim is to make an iconic portrait that is beautiful, serene and fearless, preferably with a gentle smile, indicating that the model is clearly aware of the fact that this portrait will be used for a very long time to come.”

You can check the project’s website to find out more on how you can participate- it is a limited time thing,so if you want in, go check it out now!

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Julie Schenkelberg’s Domestic Object Installations

 Julie Schenkelberg makes installations that look like domestic earthquakes. Her monumental pieces talk to us about the collective memory we share in objects and its inevitable disintegration. As most all domestic objects have some sort of function, their ubiquity–tables, chairs, lamps, plates, etc in every home– is a sign that our experience of the life is much more communal than individual, and likewise our memories. Julie takes the objects of our experience and compiles them into globs of memory, as they are probably situated in our own brains. But, like our own memories, she shows us these objects as broken and decaying in structures that look strong and sound but are, in the grand scheme of things, utterly tenuous. Her work is physical poetry at its best.

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