Over the last two years the works have become emptier, more silent. Void is explored in form as well as in content. The works are made up of transparent photographic layers in which the unprinted, emptiness or negative space is equally important as the parts where there is information.
In the works with Japanese dancer Madoka Kariya, we see how disappearing and appearing, the moment between these moments, is being caught. She shapes the space as if she paints the pine trees in one of Hasegawa Tohaku's folding screens. These pine trees re-appear in works by Faassen where he further elaborates the concept of MA and void through nature.
