Carli Hermès, a name that might evoke images of luxurious silk scarves or perhaps the equestrian world, actually belongs to a Dutch photographer whose work, while less commercially ubiquitous, deserves a closer look. Her 1995 publication, *Both Sides*, offers a fascinating glimpse into her artistic vision, a vision that, like the title suggests, explores duality and multifaceted perspectives. This exploration goes beyond simple binary oppositions; it delves into the complexities of identity, representation, and the very nature of photography itself. This article will examine *Both Sides*, exploring its artistic merit, historical context, and the lasting impact of Carli Hermès' unique photographic style.
The book, *Carli Hermès: Both Sides* (Amsterdam: COBA, c1995), is a visually arresting collection of photographs, presented in an unpaginated format, emphasizing the flow and interconnectedness of the images. Its dimensions (33 cm) suggest a deliberate choice to present the photographs in a grand, almost monumental scale, allowing for a detailed examination of the textures, tones, and compositions. The lack of explicit textual accompaniment further underscores the primacy of the visual narrative, challenging the viewer to engage directly with the photographs and construct their own interpretations. The languages listed – English and Dutch – suggest an intention to reach a broader audience, although the predominance of visual storytelling transcends linguistic barriers.
The listed categorization of the book – Carli Hermès: Both Sides; Carli Hermes; Carli Hermès; Hermes, Carli. Both Sides; Carli Hermes: Both Sides. by Hermes, Carli und Wim de Jong; Hermes Carli Both Sides; Both Sides – highlights the various ways the work has been cataloged and understood. The inclusion of "Wim de Jong" in some entries indicates a potential collaboration, perhaps in editing, design, or even conceptualization. This collaboration adds another layer of complexity to the understanding of *Both Sides*, raising questions about authorship and the shared vision behind the project. Further research into Wim de Jong's role would be crucial for a complete understanding of the book's genesis and artistic intent.
While specific details about the content of *Both Sides* are scarce, the available information points towards a body of work that likely explores contrasting themes. The title itself, "Both Sides," immediately suggests a duality, a presentation of opposing viewpoints or perspectives. This duality could manifest in various ways: contrasting subjects, contrasting lighting techniques, contrasting emotional tones, or even contrasting interpretations of the same subject matter. The fact that Carli Hermès is identified as a Dutch photographer born in 1963 provides a contextual framework for understanding her work within the broader landscape of Dutch photography and the socio-political climate of the 1990s.
The 1990s in the Netherlands, like much of the Western world, witnessed significant shifts in social and cultural norms. The fall of the Berlin Wall, the rise of globalization, and ongoing debates about identity and representation all contributed to a dynamic artistic landscape. Carli Hermès' photography, emerging within this period, likely engaged with these themes, albeit perhaps in a subtle or indirect way. Further investigation into the specific subjects and styles depicted in *Both Sides* would reveal whether her work explicitly addresses these socio-political currents or focuses on more personal or abstract explorations of duality.
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