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Simone Hoang studied Photography at the Fotoacademie in Amsterdam and at the International Center of Photography in New York. In 2017 she attended the Charles Nypels Lab at the Jan van Eyck Academie, Maastricht. In her work she responds to, reconstructs and redefines images and memories in order to take control of the intangible.

Hoang sees memory as a mental faculty based on recollection and reconstruction processes, rather than a faithful reproduction of past events. By over processing the image, she eliminates the obvious thereby making space for imagination to come into play. Her way of working can be seen as research, where the process is as important as the end result itself.

Exhibition: About Photography


Sense of Colour by Simone Hoang


"Nude" focuses on the earliest process of coloured photos developed by Kodak, named "Ektacolor Normal". With a Vietnamese background and adopted by Dutch parents, viewing photographs of my relatives, I noticed that the colour of their skin was not 'real'. Apparently, it was not possible to show colours of people in a colour photograph. The photographic material - which consists of three layers of colour: red, green, and blue - was developed in a way that only white people were represented naturally.


By separating the layers of emulsion in a chemical way, I made the colours brown, red, and yellow, visible. These colours are essential in creating life-like skin colours.


The 3 colours are presented autonomously and in life size (association with human body)

Hoang developed film negatives in eight different perfumes for men. These images are created without using a camera or exposing the negatives to light. She deconstructs her subject till she reaches the essential matter, and finally constructs images that show hidden ingredients. As a viewer of the work you are stimulated to think about the meaning of the images, as well as the underlying research process.


With Sense of Colour, Galerie Fontana presented the first solo exhibition of Simone Hoang (NL 1982). A preview was shown at the Stedelijk Museum (Amsterdam, 2017), and her work is in the collection of Foam (Amsterdam, 2016). Hoang studied at the Fotoacademie Amsterdam, and the International Center of Photography (ICP) in New York. In 2017 she attended the Charles Nypels Lab at the Jan van Eyck Academie, Maastricht.

'Night Sensitivity'

The Moroccan Sahara. Beyond the Atlas Mountains, near the Algerian border. This is a place where you will find the blackest black in the world, where the nights are darkest of all. Not a lightproof room that can be plunged into complete darkness artificially, by man, but the natural night as a darkroom. Not the darkness of the classical darkroom, with its artificial repeatability, but the unique one-off darkness of the night.

Experiencing the darkest place on earth can be disorientating. In the desert, the night displays pure light, free from light pollution, free from the light of civilization, and from any form of human light.This darkroom only works in places where night transcends the everyday, with nature as the determining factor. The infinite. The openness. The cosmic.

This project will take shape over the next few years by taking photos in the Sahara and developing them there between dusk and dawn. Making a unified whole. The moon and stars create a harmony that is not static but dynamic, new every night. The balance is continually shifting, for nothing can exist without its opposite. The exposure to the Saharan night refines and elevates the senses to a higher state of alertness. Similarly, through night sensitivity, the night as a darkroom will capture the subtle dynamics of light in the desert darkness.

Sense of Colour

Ký úc / Memento

“Ký úc is Vietnamese for memory, or rather the flaws of memory. For a long time Hoang has been fascinated by the workings of the mind: how it adds but also omits elements. In her work she tries to (re)construct and capture memories. She lets herself be guided by sensory perceptions. This series shows the malleability of memory. As clear and detailed as these memories feel, Hoang finds they are surprisingly inaccurate. She thinks it’s impossible for humans to bring memories to mind without altering them in some way. We tend to replay them in our minds, having the potential to alter them with each repetition.”

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