ECHO FROM BEYOND

The work draws on more than fifteen years of photographs — thousands of images from Morocco, Uganda, Nepal, Zambia, Japan and the studio. This archive becomes the raw material. Through AI, these fragments are reshaped into something new: images that could never be captured with a camera, but carry the DNA of real photographs. Each work is unique — there are no editions. For years, Woudt carried ideas that could not be photographed. Visions that emerged from dreams, from psychedelic experiences, from music, film, and the accumulation of daily observation. When AI tools became available, he recognised the ability to translate an internal vision directly into a visual form. Not by generating images from scratch, but by combining the language of AI with his own photographic archive. Each image sits on the border of recognition and doubt. Is it a photograph? Is it assembled? Is it drawn? Woudt is less interested in answering these questions than in keeping them open. The work shares the visual DNA of his photographic practice: monochrome, high contrast, minimal, with a strong sense of form and texture. The choice to work in black and white is deliberate. Colour would anchor the images in a specific reality. Without it, the viewer is drawn into form, texture, and atmosphere. The absence of colour creates the same effect it does in Woudt’s photography: it removes the literal and invites projection. Every image in Echo from Beyond is unique. There are no editions. The prints are made using Piezography Pro inks on Awagami Bizan Medium White, a handmade Japanese paper. The deliberate contrast between cutting-edge digital creation and centuries-old paper is central to the work’s identity. The project’s name reflects its nature. “Echo” refers to the photographic archive — images that echo from the past. “Beyond” refers to what lies ahead, the territory that could not be reached with a camera alone.