By Isabel Ferreira de Sousa
The colourful, poetic and dreamlike photographs of Pascale Leenders have a timeless quality that invite contemplation. I met Pascale in her studio to talk about her passion for photography, what catches her eye, and her favourite books.
I know photography has been part of your life for a long time. How did you become interested in the medium?
My father was a hobby photographer. He always had a camera with him when we were on holiday. For my 20th birthday, he gave me an analogue camera – an Asahi Pentax – and I’ve been photographing ever since. Back then there were no digital cameras, so I spent a lot of time in the darkroom developing film, which I loved. When digital photography arrived, I couldn’t place it. I actually stopped taking photographs for a while.
How come? Did it feel like the magic was gone?
In a way, yes. Photography had always been a kind of relaxation for me. I loved the process of developing film, the playfulness of it, and not knowing the exact outcome. With digital, you press the button and immediately see the result. I didn’t like it. The colours, the sharpness—it all looked fake to me. I told myself I would never photograph digitally. Then, my house was burgled and my beloved camera was stolen. It crushed me. That camera was an extension of me. I could use it with my eyes closed.
I understand — it held sentimental value, too. So, when did you switch to digital photography?
I bought another analogue camera, but it didn’t feel the same. As technology developed, I became curious about digital possibilities and noticed the quality had improved. I then bought a digital camera. It took me a while to embrace it and find my own way, but once I did, I realised I wanted to dive deeper and explore the possibilities it could offer. Most of all, I was excited about photography again.
Is that when you decided to become a professional photographer?
Yes. My children had grown up, and I was asking myself all these existential questions: Who am I? What do I really want? One day, I came across the Fotoacademie in Amsterdam and decided to apply. I sent my portfolio, did a technical exam, and was accepted into their three-year programme. That’s where I truly developed my style. It was also a moment of rediscovery—expressing what had always been in me, but in a more defined way.
What catches your eye when you take a picture?
I think photography gives me a different view of the world. I have always looked differently at things, I often see things in a frame. In a way, photography was a kind of escape into my own world. At the academy I learned how to define this way of looking, which is often more beautiful than in reality.
When I look at your photographs I feel they have an emotional appeal, they draw me in. Do you work around a particular theme or do you take a more intuitive approach?
My work often stems from personal memories or emotions. For example, I created a series called Memories of My Grandpa, who was very dear to me. But I’d say I’m more driven by emotions than by themes. And those emotions aren’t always blissful—sadness and loneliness are there too. Either way, I always search for poetry. I feel the urge to make a moment beautiful, or at least poetic.
Your images are often abstract, with soft colour hues. Does abstraction help you express those emotions?
Yes, because it’s such an internal process. The images usually start at home or in nature, and then in Photoshop I work with colour. I don’t erase traces of the moment, what others might see as imperfections. The subject itself is almost irrelevant—it could be a branch, a plant, or a household object. What matters is the feeling the image conveys. And that’s always subjective. I can tell you what it means to me, but it might evoke something else in you, and I find that beautiful.
In terms of style or on a conceptual level, who inspires you?
Ah, let me think. Bill Viola worked mostly with video, but I think his work is fantastic. Gerard Richter, of course. There are are also many photographers that I admire, Erwin Olaf is one of them. Although his photos were often staged, which is something that doesn’t appeal to me, I love how he used colour and light. Vivianne Sassen’s work is amazing – her fashion photos are unlike any other. I love how she uses colour , light and darkness to create a certain atmphosphere. There’s also something daring about her work. I like that.
Can you tell me about the series you’ve chosen for Alma Archive?
I selected three works from different periods in my life: Bulletproof #4, Impressions in Soft Tones #8, and Lucid Dreams #3. I love the softness of the photographs, how different elements appear – rain, mist and shadows. For me, time plays no role in the quality of a work. Each piece reflects a specific state of mind, a moment tied to a feeling, and that’s what matters to me.
You’ve recently shown work in Portugal and at a fair in the Netherlands. What’s next?
Yes, exhibiting in Cascais was a beautiful surprise, and participating in a fair was interesting, though not something I want to pursue further. Next month I’ll take part in a group show in Maastricht, and I’m in conversations for another solo exhibition next year. I love sharing my work and seeing how people respond to it.
This interview has been condensed and edited for clarity with Pascale Leender’s consent.