Margaret Lansink makes work out of necessity. Photography is her starting point; from there she moves through collage, painting, and alternative printing processes including Liquid Light and platinum–palladium. Images are layered, partially obscured, altered over time. What interests her is not the moment of capture but what time does to things afterward: the slow accumulation of change, the gradual recession of what once seemed certain.

She studied at the PhotoAcademy in Amsterdam, and continued at Le Masterklass Paris and Atelier Smedsby. Her practice has always been rooted in an intuitive, analog tradition — one that has deepened over time into an increasingly material and painterly practice.

Her work stays close to the fragile and the unresolved — to impermanence, loss, vulnerability, and the possibility of repair. These themes are increasingly located in landscape and in the human body: abstracted, eroded, allowed to dissolve. The natural world is subject in its own right. She works slowly, in layers, asking the viewer to pause, to look twice, to sit with what cannot be fully resolved.

She has published ten photobooks, five as handmade limited editions. Her work has been exhibited in museums, galleries, and festivals across Europe, North America, and Asia — including Paris, Tokyo, Kyoto, New York, Miami, Tbilisi, Amsterdam, and The Hague — and is held in the collections of the National Art Library at the Victoria and Albert Museum in London and the Stedelijk Museum in Amsterdam.

In 2019, Lansink received the Grand Prize of the Hariban Award for Borders of Nothingness – On the Mend and the Best Dutch Book Design award for The Kindness of One. In 2025, Unbound received the top prize at the Fedrigoni Top Awards. She lives and works in Amsterdam.