David Van Eyssen

Intrinsic Images

“In the process of making lenticulars and screen-based work, images are created that are never seen in isolation… it’s those hidden pictures, the ones that make up the motion pieces, that I’ve decided to show for the first time. What interests me about them is their stillness… the way that time finally stops, and the intrinsic image can be observed.”

Tide shown installed: a large screen work in a bright modern living room, with a purple-lit figure on a beach.
A Volume of Poetry shown installed: a dark framed print with red and pink glowing forms, above a bench in a white room.
Cryptomnesia installed above a velvet sofa in a London interior: a long violet striped panel with a small running figure.
And Then The Tide Runs Out A 40x72
And Then The Tide Runs Out B 40x72
And Then The Tide Runs Out C 40x72
Cryptomnesia A, left view: long blue-violet lenticular strip with a running figure by a car, sea, and translucent circles.
Cryptomnesia B, right view: blue-violet panoramic strip with rocky shoreline, a pale circle and a face in profile at the right.
The View In Color A 48x13
The View, centre view: wide panel of a night city from a hillside, utility poles, a seated figure and a white blossom with red form.
An Atom Me, artist's proof: wide strip with a boy's profile at left, a window, standing figures and a wrecked car in grass.
The Gannoughs Suite A 48x13
Between Stations We Stand A 30x62” - 40x96
Between Stations We Stand B 30x62” - 40x96
Between Stations We Stand C 30x62” - 40x96
“I’m continuing to make still images… but they’re either photographs of broken mirror installations — which capture the passage of time — or studies for motion works.”
A Slim Volume of Poems In No Particular Order A 40x27”-78x53”. Limited edition of 2 in each size.
A Slim Volume of Poems In No Particular Order A 40x27”-78x53”. Limited edition of 2 in each size.
After The Fall (We Stopped At Eden) 24x19”. Limited edition of 3.
And Left The River Behind Us 26x20”. Limited edition of 3.

A Slim Volume of Poetry In No Particular Order

Published in Mirror Mirror: The Reflective Surface in Contemporary Art (Michael Petry, Thames & Hudson, 2024). For this series, the artist temporarily installed and broke large mirrors in public settings across Los Angeles.

A Slim Volume of Poetry In No Particular Order: a broken mirror at night, its shattered surface reflecting a green motel sign, a streetlight and passing traffic.