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Born in the Netherlands, Leroy was educated at the Royal Academy of Arts in The Hague and graduated in july 2014. He did his apprenticeship at the well-known Dutch photographer Marcel van Der Vlugt in 2011. Sankes’ work evolves around how the Western society fulfills its pursuit of perfection. More specifically, the way we conform ourselves to comply with Western society and its ideals. Leroy Sankes is a photographer who like an alchemist, blends fiction and reality.

Any problem in society today is subjected to a chaos of perspectives. Every issue gets framed continuously through professional and social media, and it is very hard to make sense of issues that in themselves are already complex. At the same time, Sankes’ images re-question our perception of the refugee more subtly by combining a visual language that appears classical and glamorous with subjects that simultaneously are alienating and attractive. By employing a high level of direction over the visual outcome of his artistry, Sankes not only creates intriguing images, but also lays bare the inherent mechanism of framing in photography that appears at the bottom of the contemporary fragmented worldview. This way, the artist is not only able to show us there is no singular truth, but also that every person deserves a second opinion.

Born in the Netherlands, Leroy was educated at the Royal Academy of Arts in The Hague and graduated in july 2014. He did his apprenticeship at the well-known Dutch photographer Marcel van Der Vlugt in 2011. Sankes’ work evolves around how the Western society fulfills its pursuit of perfection. More specifically, the way we conform ourselves to comply with Western society and its ideals. Leroy Sankes is a photographer who like an alchemist, blends fiction and reality.

Any problem in society today is subjected to a chaos of perspectives. Every issue gets framed continuously through professional and social media, and it is very hard to make sense of issues that in themselves are already complex. At the same time, Sankes’ images re-question our perception of the refugee more subtly by combining a visual language that appears classical and glamorous with subjects that simultaneously are alienating and attractive.
By employing a high level of direction over the visual outcome of his artistry, Sankes not only creates intriguing images, but also lays bare the inherent mechanism of framing in photography that appears at the bottom of the contemporary fragmented worldview. This way, the artist is not only able to show us there is no singular truth, but also that every person deserves a second opinion.