Personal Collection
‘For the ones who are not included (sorry)'

Dinaya Waeyaert

I stare at myself in the mirror in my closet. I spot this small shoebox in the corner of the closet and look through it while I’m on the phone with Blair. There are all these photographs in the box: a picture of Blair and me at Prom; on of us at Disneyland; a couple of us at the beach in Monterey; and a couple of others from a party in Palm Springs; a picture of Blair I had taken one day when the two of us had left school early, with Blair’s initials on the back of the photo. I also find this picture of myself, wearing jeans and no shirt and no shoes, lying on the floor, with sunglasses on, my hair wet, and I think about who took it and can’t remember. I smooth it out and try to look at myself. I think about it some more and then put it away. There are other photographs in the box but I can’t deal with looking at them, at old snapshots of Blair and me and so I put the shoebox back in the closet.
Brett Easton Ellis

With her series Personal Collection, Belgian photographer Dinaya Waeyaert explores the concept of time and memory between friends and relationships that changes through the years.

Waeyaert: “Ever since I started photographing I focused on the people who surround me the most. I have been using these images as the starting point of my work.

As a photographer I let the viewer into my intimate world without being part of it myself. You can see my presence in the role of voyeur, making images that represent moments of connection with my subject. Intimacy between lovers and friends are often shared in private, away from the gaze of outsiders, while I love to put this all out on display. The tender and affectionate is showed in a raw and explosive way.

I always photograph on 35mm colorfilm with two different camera’s. The snapshot esthetics stands in contrast with the slow ambiance of analogue photography. I will always choose to photograph analogue, because the concept of memory translates himself better on film. The viewer will experience a timeless feeling and hopefully relate themselves to the images.

During past years I made a lot of daily life images that have been put into a personal archive. This collection, about altering relationships between a group of people, is continuously growing and strengthens itself by a high quantity of pictures. The overload or big amount of images is the base of my work. I question the fact of ‘the better image’ by showing the ones that stand out in big, filling other space with the amount of pictures.”