Jonathan Widdershoven on Coal traces: seeing, listening, and connecting

For Coal traces: Clouds over Sawahlunto, part of Rooted in Change, Jonathan Widdershoven traveled to Indonesia together with Jop Vermeesch (artist/community-builder), Lara Gasparotto (photographer), and Gert-Jan van Stiphout (sound artist) to explore how the region’s mining history is still present in people, places, and stories. The project began as a search for traces of Jop’s great-grandfather Henri Vermeesch, who worked as an electrician in the Ombilin Mine. Jonathan documented the journey visually while weaving in his own family history. His work is now part of the Coal traces exhibition at SCHUNCK Museum.

Benny the fixer

Jonathan grew up in Heerlen, where the mining past primarily survives through stories. In Sawahlunto, a former mining town in Indonesia, it’s different. “Much is still physically present. You can see and feel the past in the streetscape. That changes the way you look.” The team had a plan, but in practice things unfolded differently, Jonathan explains. “Everything came from conversations. One person connected us to the next, and it just kept going.” In Sawahlunto, they met Benny, a local official who helped them gain access to key sites, including old archives, a former prison complex, and a storage facility in Padang. “He arranged everything, from transport to keys. That got us to places you wouldn’t normally reach.”

An unexpected highlight came via their hotel manager, who worked for an organization managing historic buildings. He could give access to locations normally closed to the public. Jonathan particularly remembers the docks in Padang, where coal was once stored. “He just called, and suddenly we had the key. Moments like that make a trip unforgettable.”

Visualizing the colonial past

At the Sawahlunto Mining Museum, Jonathan saw historical images of forced labor. It left a strong impression. “You feel uneasy, and you’re not sure how to react. But you want to look honestly.” He describes it as a delicate position: being part of a history you didn’t personally experience, yet that continues to shape families and stories. “It’s not about my judgment. It’s about listening to the people who live there now, and to what the places themselves communicate.”

Jop’s great-grandfather’s story was also not straightforward to capture. “We visited the sites from old family photos, but some things can’t be traced one-to-one.”

Family as a second lens

Jonathan also visited his own family in Kampung Tangerang, near Jakarta. “It wasn’t a short visit. I wanted to be part of everyday life — sharing meals, talking about work and the future, seeing how people live.” His family valued his presence deeply. “They took time off to spend with us — my mother came along too. That touched me. I had visited Indonesia as a teenager, but it was superficial. Now I could really talk and listen. Only then do you understand what heritage means.”

This experience reshaped Jonathan’s perspective on the journey. “It wasn’t just about heritage anymore, but also about who you are yourself. When something involves your own family, you see it differently.”

Working together in a small team

The dynamic among the four creators largely shaped Coal traces. Jop provided the personal starting point, guiding the conversations and locations through his search for his great-grandfather. Lara worked intuitively and poetically, from her own artistic perspective. Jonathan worked documentarily and observationally. His approach is centered on contact: “Sometimes I spend three hours talking without even taking my camera. It may feel slow, but it’s essential. I want to get close and make things very human through my photography.”

Gert-Jan played yet another role. He not only recorded environmental sounds but often served as the first point of contact. “He approached people effortlessly,” says Jonathan. “That got us access faster. Everyone responded well to him, and it helped all of us.”

Beyond a classic photo show

At SCHUNCK, Jonathan’s images are projected, creating a rhythm of sound and visuals. This choice aligns with Coal traces' character: not a traditional photo exhibition, but a montage that immerses viewers in the journey. “The images and sounds belong together,” Jonathan explains. “That makes it stronger than just showing prints.”

Coal traces explores themes of heritage, identity, and self-discovery. Jonathan hopes visitors recognize themselves in his perspective. “Seeing real people and real encounters makes history feel tangible. It’s not abstract; it’s also about you. I hope it resonates.”

Coal traces: Clouds over Sawahlunto is on view at SCHUNCK Museum as part of Rooted in Change: Art collection DSM.