Tine Guns (1983) lives and works in Ghent, Belgium.
Her videowork was screened at festivals like Jean Rouch Festival, Next Festival, TAZ 2011, Ostralde Dresden 2016. She exhibited at Cinematek/BOZAR, Netwerk Aalst, Brakke Grond Amsterdam, among others. Her photograpic work was selected for Voies Off Festival 2014, International Photography Award Emergentes DST, Encontras da Imagem, Braga 2014, BruggeFoto 2014, Salut d’Honneur de Jan Hoet, Oostende 2014, PASS 2015, TIFF 2015,
She has self-published two books: Amoureux solitaire (2014), and The Diver (2014). In 2015 ‘The Diver’ was shortlisted as a finalist in the 2015 First Book Awards of MACK
Tine Guns focuses on the constant metamorphosis that we experience as human beings, and the inability to capture the fleeting reality. The influence of our memory on how we perceive images results in multiple perceptions and interpretations.
The work exists of video’s and books. She plays with and challenges the parameters of cinema & visual storytelling. Our (collective) Memory & History are a main source of inspiration for Tine Guns so she worked a lot in Archives, personal and collective archives.
In 2015 she started a PhD on the relationship between Editing in Cinema and Photobooks at Luca School of Arts Gent & KU Leuven
Artist Statement: All these images are fragments and some of them are stories. One of these stories is 'We all want to forget something, so we tell stories. It’s easier that way' based on the film 'Rashomon'. Another story is that of the photobook 'The Diver' (about a man that is trapped in the sea and in a hotelroom...) For the editing of ‘the Diver’ I took a closer look at the work of two great masters: Hokusai and Osamu Tezuka. More specifically their use of the Frame or the Panel was a great inspiration. The transitions between the frames and especially the ‘aspect-to-aspect panel transitions’ that define Osamu Tezuka’s manga were very important in the construction of ‘The Diver”. I focussed on the way our mind creates a story out of two or more fragments of an image. I wandered what this would give if I’d translate this to photography