ESTRANGED - YANNICK

In theEstrangedseries, Dutch fine-art photographer Arjan Spannenburg captures the silent, psychological architecture of a generation caught between visibility and erasure. Through a masterful blend of technical precision and raw vulnerability, these works transcend portraiture to become a sociological mirror, questioning how we "see" those who feel they must remain hidden.

The Vegetation: A Portrait of Upbringing

InEstranged, the natural world is not a backdrop; it is a biography. For the model Yannick, the dense, tangled branches represent the environment of his youth a complex thicket of expectations and realities. The act of holding onto these branches is both a physical necessity and a metaphor for survival.

Each subject in the series interacts with a unique form of vegetation that symbolises their specific origin. Some are surrounded by lush, rich foliage, representing a wealth of opportunities and support. Others cling to bare, skeletal branches, the stark reality of growing up with fewer chances and less "cover." Regardless of the richness of their environment, a universal truth binds them: the profound struggle to belong in a world that feels inherently different from who they are.

The Social Critique: The Sharpness of Displacement

Spannenburg employs a deliberate, shallow depth of field as a biting social commentary. While the hands and the branches are rendered in razor-sharp detail, the models themselves often recede into a soft blur.

This technical choice reflects a painful daily reality. We see these young people on the street; we see their hands moving through the world, performing the labour of existence. Yet, we rarely trulynoticethem. They live in a state of forced camouflage, hiding their true selves from a society built on heteronormative or rigid expectations. This persistent act of hiding creates a compounding alienation, an estrangement not just from society, but from their own souls.

Estrangedreminds us that the feeling of being an outsider is a shared human condition. By focusing on the "grip", the hands holding on for dear life, Spannenburg invites the viewer to stop and truly look. It is a call to awareness a hope that by recognizing the estrangement in others, we might begin to heal the estrangement within ourselves.