Saskia Vanderheyden's work comes from a way of looking—noticing the poppies at the field's edge, the buzzard overhead, the stranger in the striking hat. She allows herself to get lost in details others miss. Colour moves through her images with the same inevitability, arriving as something that happens rather than something planned, even when she means to be restrained. This surrender to what emerges is how she works: photography, painting, and drawing as a playground where coincidence becomes material.
Her photographs aren't about recording what was in front of the lens but about conveying what she felt making them. This creates real layering—both literal (overlaps of media) and conceptual (images that reference each other or stand alone). She resists guiding the viewer too tightly, trusting them to find their own meanings across the work.
Antidotum offers an antidote to despair about nature, but not by turning away from the problem. Vanderheyden argues for wonder as a deliberate practice: that nature is accessible and present, that it's both fragile and resilient, and that resilience demands our responsibility, not our surrender. Her photographs ask us to relearn something simple—that how we see and how we live are connected.
