Drag is a series of photographs that comments on the art of drag performance and it’s ambiguous relationship to masquerade, public and private identity, and the project of self-making. Creating still lives, portraits of drag performers, and self portraits,Van Der Hout explores the space between the mask of the performed self and the mask of the everyday. Documenting drag performers as they put on their stage makeup, Van Der Hout captures moments of vulnerability and transformation. This liminal space between two self-constructs offers two images of power: the power of persona and the power of unveiling.
Water is often thought of as an accessible commodity in most Western cities. With global climate change, this expectation is becoming less certain. Draughts, contamination, and flooding in places like Cape Town, Los Angeles, Flint, and Manitoba have made obvious that a limitless supply of water does not exist.
Dark Waters is a series of images of water, clouds and deserts looking at our culpability in commodifying and altering nature. Using a laser cutter, Van Der Hout burns holes into the photograph, allowing certain portions of the image to remain and others to fall away. He is interested in how far he can destroy the physical structure of the photograph before it falls apart.
Creative Destruction explores ideas of modernization, progress, and loss by etching into the surface of photographs from the Toronto archives.
At this time of transformation, I became interested in exploring Toronto's past, as a means of framing the changes we are currently observing – in the realms of transportation, architecture, and the nature of work – and shedding light on the connections between past and present.
The studio is both a magical and profoundly practical place. It is a site that serves the grand pursuits of contemplation and creativity while meeting the functional requirements of production, storage, and distribution. In the studio, artworks coexist in an entirely uncontrived dialogue.
The photographs in this series document artists at work in studios that range from monastic to whimsical to chaotic. These private and highly individual workspaces speak volumes about artists’ processes and personalities.
In Collecting Dust, Van Der Hout photographs still life scenes covered in layers of dust and decay showing the accumulation of time and neglect.
By covering recreated Dutch vanitas paintings and famous artworks, in dust Van Der Hout imagines what our most prized artworks would look like in a world long neglected. What would it look like when all that is left to do is collect dust? The butterflies in the vanitas arrangements offer a note of hope - a symbol of the renewal that is possible after civilizations collapse and nature renews itself.
To Reflect Everything is a monumental sculptural work that investigates the complexities of queer utopia. Inspired by the 1986 Ajisai satellite, the large sphere is adorned with mirror-finished steel panels that both seamlessly and incongruously merge with its surroundings. “To Reflect Everything” appears poised for departure, as if preparing to transcend earthly boundaries. Reminiscent of a disco ball, the alluring surface invites viewers to delve into the realms of self-reflection and transformation, and to reconsider the urban environment of the Toronto Sculpture garden through distorted and fractured reflections.