De Ridder photographs with a tripod-mounted large-format camera, returning to a site again and again until the light and atmosphere feel right. In his video work he captures landscapes in the process of transformation, such as fog dissolving or shadows moving across a hillside, changes too slow to register in a still image.² His photographs have been published in several monographs, including Wilderness (2003), Dune (2011) and Falaise (2016).¹

De Ridder has said that when photographs are minted as NFTs, it matters that the artist provides clear context about the project and how the work is meant to be experienced. In 2022 he released epilog, a one-minute video he described as a “slow NFT”, in keeping with a minimalist approach in which he works on one project at a time for about a year.³ Working with the platform Assembly and the production studio Fingerprints, he released glitch, a series of 50 tokens made from photographs of erased graffiti whose animated GIFs degrade each time they are traded.⁴ The series meditates on the idea of “unwanted information”, and its launch was covered in the newsletter Bankless Metaversal.^4,5

His photographs have also circulated through art fairs, including Pulse Miami, where the gallery Danziger exhibited his print Godyns Punt, Sandy Hook (2009).⁶