In her Turn Over series, de Rijke likens the creative process to filmmaking—each image unfolds like a scene, building one upon the next, eventually merging into a vast visual fresco. Each composition is formed by an inner and outer structure—elements of rock, sea, coastline, sky, and distant lights on the horizon—together evoking a landscape that extends beyond the frame, suggesting the passage of time and the promise of a coming day.

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Upon closer observation, what initially appears as a dramatic scene is subtly disarmed by the artist’s interventions. In certain variations, she shifts the perspective by rotating the image: what was once at the bottom is now placed on the side. This simple gesture frees the forms from gravity. While the original orientation is hinted at by the placement of feet—always painted at the base—the body is now absorbed into the landscape. Instead of a figural depiction, the viewer is met with the shape of a terrain.

 

This transformation neutralizes the drama and invites a sense of lightness, of floating. Yet body and landscape remain inseparably linked. Through this rotation, the imagery undergoes a transformation—unintentional, yet intentional—a creative provocation that challenges perception. This inversion becomes a playful and poetic shift in perspective, a recurring theme in de Rijke’s work, where she constantly invites the viewer to see, feel, and interpret differently.