Koek’s images of “Times in Space” teach us that time and space are one entity including our happenings in the past, the current and the promise of the future. They have seemingly a finite past with a beginning, a horizontally drafted line, a two dimensional background where several decisive moments are symbolized by human beings. But we are aware that Koek brings us an illusion of a truthful moment in time. Like a panorama painting from Mesdag with seemingly no beginning and no ending. Creating an illusion of a wide view, overcoming the shifting vanishing point in his digital darkroom. With his contradictions in geometry he shows us a complete event, a fluid passage of a longer stretch of time, like a Buddhist universe that goes through repeated cycles of creation, cycles of human breathing rhythmatically coinciding with the pace of a city’s heartbeat.

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Times in Space (3)

To Koek that what we observe is not that what is, therefore no camera can capture that what is.  Koek shows us that the truth is more than the world we observe.  The god of fleeting reality is an illusion we as human beings hold so dear.  He questions the validation of the truth as we experience this through the medium of photography.  Because a photograph reflects the world with perceptual accuracy doesn’t mean it is proof of what spontaneously transpires.  There are gradations of truth in the circumstances that led up to the moment the picture was taken.  Koek shows the illusion in the cardinal rule that the presence of the camera must not alter the situation being photographed in order to classify it as truthful.  For Koek this discussion undermines the reality of what every image depicts.  Koek’s “Times in space” show us the symbiosis of this taboo. His pictures are fact and fiction.  His questions about trust and authenticity are replaced by the province of metaphor, where the truth is approximated in renderings of a more poetic or symbolic nature.

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Times in Space (2)

Koek photographs in the series “Times in Space” are made in honor of Bresson.  Koek holds his breath and with a small point and shoot camera searches for the perfect balance between his own interior thinking and the outside world he observes. For Koek what we see is determined by who we are defining our seeing as a psychological and sociological process.  Bresson lived in an era where the only modification occurred in the dark room.  Now the viewfinder has been replaced by a led screen and the darkroom has been transformed in a personal computer.

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Times in Space (1) 

We can only agree with the legend Henri Cartier Bresson who explained that taking pictures means holding your breath with all your faculties concentrated on capturing a fleeting reality. Bresson’s life and work is a long and inspiring lesson in seeing and living, forever changing the way in which we take our images as well as in the way that we look at photographs today. With the fleeting reality he honored the ancient Greek god Kairos, god of the fleeting moment, a favorable opportunity opposing the fate of man.

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