I feel at home at music festivals. The brief encounters with the like-minded, blending into the crowd, experiencing the music—all of this contributes to a feeling of freedom and of being a part of something bigger.
My hippie mother took me to my first festival in 1970. Later in life I went as a music lover and I have often photographed at music festivals. I have done this since 1992, in line with my nightlife photography since the late ’80s, when house music established and consolidated.
It was clear to me that I had to do something with the music festivals as a subject. The Netherlands holds more than 700 festivals annually and has turned into a festival country. The nightlife has gained a well-developed department.
Decades after my first festival, I walked between thousands of festivalgoers with my camera and wondered what the surroundings would look like without all the fuss, the people, and the tents.
This inspiration led me to the idea of Festivalland.
In 2015 and 2016, I photographed 20 festivals and went back to the same locations, which were now practically empty. My photography has always addressed people, so of course I captured the residents of the temporary villages, but in the festival landscapes I let the environment play a major role. These temporary, and temporarily altered, environments show the human tendency to unite with nature in specific ways.
Landscapes are always changing, seasonally and over longer timelines.
A landscape’s colors fade in autumn; it is barren in wintertime, and blossoms in spring, to be fully grown in summer, and reaching its final bloom with the vivacious festivals that descend on it.
This is why I see the festival as a magnificent flower.
The landscape without the festival is a Festival of the Elements on its own, with the upcoming sun, the mist, clouds, and rain as its effects. The visitors are two swans, gardeners, and a nudist. - Cleo Campert
Aantal pagina's: 160
Formaat: 30 x 24 cm
Uitgever: Kehrer Verlag