About


Véronique Fixmer lives in Luxembourg where she was born in 1977. She discovers her love for photography at the age of 25 and starts to take pictures with a DSLR camera, her subjects at the time being mainly landscapes and abandoned places. Using a rangefinder camera and practicing almost exclusively black and white photography, her focus has moved toward travel and street photography in the past few years. She draws her inspiration from artists such as Henri Cartier-Bresson, Dorothea Lange, Vivian Maier, Josef Koudelka and Sebastiao Salgado.

Alongside several participations in various group exhibitions, Véronique Fixmer was the author of the exhibition Workers presented at the massenoire in Belval in 2014/2015/2016.

The curators of the exhibiton Leit an der Stad Luxembourg Street Photography 1950-2017 chose four of her pictures to be featured alongside those of other iconic luxembourgish photographers such as Batty Fischer, Edouard Kutter and Pol Aschmann at the Lëtzebuerg City Museum

Member of the Street Photography Luxembourg Collective since 2013, she participates in the yearly Slide Night events, which have been part of the European Month of Photography (EMOP) in 2017 and have evolved into a full scale Street Photography Festival in 2018.

She has also illustrated several books for the editions phi, including Où demeurer ailleurs que là  in 2007, the Viniphication booklet for which she made portraits of Luxembourgish authors, Nid-de-poule in 2009 and la reine du limpertsberg in 2012, two titles whose author is her sister, Alexandra Fixmer. A regular contributor to the Tageblatt supplément livres, Véronique sees her photographs published in other newspapers, magazines and on book covers in Luxembourg and abroad.

In 2018 she self-publishes her first black and white photobook synonym.

“To me, street photography is not an end in itself, but rather it is a way of being, a way of seeing what surrounds me. It is often when I walk without my camera that I see perfect moments, that I would like to freeze in time; those little futile moments, emotional and tender  everyday life offers us. My camera is not just a tool, it becomes part of me – which is why I appreciate the compact an unobtrusive feel of a rangefinder.

Even if sometimes I try to shoot in color, I always come back to black and white. I think I’m more sensitive to contrast, to the play of light and shadow, to the strength of the subjectrather  than to the world of color.”

 


If you want to purchase one of my prints, feel free to contact me and I’ll get back to you as soon as possible.