outLINE invited eight artists involved in changing identities. These artists try to explore their potential and their limits by situating themselves in ever changing positions.

Eric Steensma shows a video in which he encounters himself while climbing a mountain. Steensma manipulates the logic of the mirror. He creates suspicion on the idea of reflection.

Renée Ridgway uses video techniques in order to explore her own identity in relationship to place and nationality. She presages both cliché and originality in her comments, she analyses generalization and communication failures.

Jian Ren Zhao creates sound environments. Zhao uses technology in order to explore an antithesis to human emotion: failure of human communication.

Peter Lelliott rearranges random photographic fragments in search of new meanings. His pictures combine textures of grainy photojournalism with the phantasy of an archetypically romantic idiom of images.

Charlie Citron uses a toy, i.e. his puppet 'G.I. Joe' by way of alter ego. With Joe he travels the world, through Joe Citron communicates with audiences from different cultures. The archetypically American's figure mini-size makes him accessible and even touching. The photo report of Joe's travels is like an epic poem full of irony and humor.

Monali Meher creates performances in which ritual acts and materials like henna are prominent. For Meher henna symbolizes the temporary; in India hands and feet of brides are adorned, constituting specific acts in the presence of a specific group, just like performance in art. The henna applied remains visible for a certain length of time. You carry it with you like a memory. Next it wanes away...

The Sumo is an appropriate subject for Dirk Jan Jager because within the ritualised sport the outcome of the elaborate prerequisite events leads up to a release of direct energy in the conflict. This is in a way the tension that Jager looks for in his work. It's almost describing the sense of gestural painting that he uses, however the Sumos series of paintings have other levels that point at more esential human situations so that the motif of the Sumo transforms in different paintings.

Ronald de Boer's work generates memories. Images, fragrances and sounds are staged in such a fashion that they seem to be products of an authentic past. Objects lost and found, photographs and film fragments are collected and processed into images, installations and video films acquiring a reality of their own. An archetypical world of memories is formed, touching upon spectators' own pasts.