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In the work "At the Airport," I am interested in the inconspicuous periphery of transit: not the runway or the terminal, but the fence that orders everything. The composition is built up in layers: chain-link fencing in the foreground, behind it a second, picture-filling fence with barbed wire forming a strict grid; a tree trunk, pole, and fence post complete the vertical triptych. The branch lays a diagonal line across the picture, as if nature… wanted to briefly touch the system.
The toning remains muted and cool; it keeps the scene in a minor key and makes the shadows appear like warning signs. A quiet tension arises between the sky and the wire: vastness is visible, but unattainable. Thus, the place becomes an image of movement under reservation – a waiting at the edge, where freedom appears as a prospect and control as texture.
Marcel van Beek works with photography, painting, and graphic design, drawing on his artistic background from his studies at the Alanus University of Art and Social Sciences. His technique combines pictorialist influences with romantic-symbolist imagery. His photographs embody contemporary fine art photography and conceptual photography, often featuring monochrome recolors in tertiary colors.
He creates a poetic visual language interested in forms and structures, combining this with a modern, conceptual approach that claims social relevance. In his works, he explores inner and outer landscapes, conveying feelings of longing and threat, as well as a fascination with the hidden. He has published various art publications (most recently "World of Water," 2025), which are represented internationally in academy and museum libraries (including Vienna, Basel, Düsseldorf, and Berlin).
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Am Flughafen
Marcel van Beek
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