Zelfportret 1993 nr. 33 1993

Editor: So, here we have Philip Akkerman’s “Self-Portrait 1993 nr. 33,” created in ink. It's stark, almost unsettling, especially with the exaggerated features. What can you tell me about this drawing? Curator: Well, considering Akkerman's obsessive exploration of self-portraiture, numbering them sequentially highlights the process of repetitive creation, a sort of artistic labor. Notice the material contrast, how the rough ink strokes create a textured surface that's quite tactile, pushing back on the traditional smooth polish expected in portraits. Editor: I see what you mean. The roughness does bring it back to the act of making. But why monochrome? Curator: The monochrome palette focuses our attention on the physicality of the medium—the density of the ink, the texture of the paper, and the act of applying one to the other. It democratizes the image, focusing on process. Editor: That's an interesting point. How does the social context play in here? Curator: Akkerman made a career by relentlessly repeating the same artistic “task,” the creation of endless self portraits, often numbering thousands of the same portrait. He is asking us if creating portraits en masse devalues them, perhaps commenting on society's obsessive, surface-level fascination with image-making and production, even mass production. Editor: I guess I always focused on the psychological aspect. But it’s really about production? Curator: Partly. It asks questions of labor, production and consumption, not only on behalf of the artist, but for the person looking at it. How long are you willing to look? Editor: Wow. I'll definitely look at Akkerman differently now! Curator: And I might have to consider some psychoanalytic theories myself, now!