In my landscapes, the human figure is absent.
That absence is not an aesthetic choice, but a moral one.

What becomes visible is the silence that remains when our voices fall quiet — a silence that is not peaceful, but indifferent. The landscape never needed us.

How our presence can still be justified remains, for me, an uncomfortable question. We have treated the earth as a field for human desire: to grow, to win, to consume. The result is an exhausted planet and a species that has begun to see even itself as both resource and waste.

My position within this is unavoidably double: sorrow for what is being done, and at the same time a sense of powerlessness about my own part in it. Responsibility feels collective, guilt personal. Making the images is not an answer, but a way to continue existing within this condition. From this, the images emerge.

I photograph what remains when human noise falls away. Images with a silence that surrounds the viewer. Not as an escape, but as a shift in perspective. In the awareness that the landscape continues without us, I find a form of solace — not because it needs us, but precisely because it does not.

The works are tactile and unsettled — not always folded, yet never entirely smooth, always searching for movement and structure. The landscape becomes a place where the silence of absence can be heard.

BIO

Geralda Odinot is a Dutch visual artist working with black-and-white photography and often hand-formed prints. Her practice centres on landscapes without human presence, approached as a moral position rather than an aesthetic theme.

Trained as a scientist and holding a PhD in forensic psychology, she shifted her focus entirely to visual art in 2019. This background informs a research-driven and material approach to photography, where thinking and making remain closely connected.

Odinot treats the print as a physical surface rather than a neutral image. Some works are folded, creased or re-formed by hand; others remain unaltered but are guided by the same search for movement, texture and irregularity. This tactile approach explores responsibility, exhaustion, and the uneasy relationship between humans and the planet they continue to consume — seeking the indifferent silence that follows our absence.