“Ran ans Motiv / Catch the motif”
We are all living in the era of "post mediumship". Roughly speaking, this means that photography can have every possible form. For their determination as photography it is unimportant, if they are done with a camera, if they are designed on a computer, or if they even expressed visually.
However, my work does not rest on such an arbitrary. Instead, it moves conscious their determination into the center of perception. It is a form of photography, which is medium reflective and wants to know, what photography is and under what conditions they arise; in this sense my photography is programmatic. In 2009 I started to arrange this photographs deliberately to associative loose groups. Despite or even because there is always my leitmotif appearing as references to photography, seen from the perspective of their media and technology history, my pictures turn out extremely different. The heterogeneous composition of image types, together with their respective iconographic codes, jostle into their incompatibility clearly in the foreground and undermine the seemingly conceptual rigor of my combinations. The closer the viewer the individual images come, the more he is willing to commits himself to them as a unique case, the more he lost the differences of the images and their details.
At this point a door opens to my work: Theme and tool are applied in practice but also in the metaphorical flipped discourses of photography and the artistic conceptuality. My concern is just as lively as calculated the role that images play not only in our seeing, but also in our thinking. My work is about the relationship between technology and the view, culture and knowledge - which is all the more apparent the more we replaced, modified an despecified our former "analog" handling of information by digital techniques. Against this background, you can read my photographs very specific, as a cultural text that is being overwritten now. Thereby my work, witch is entirely thought from the medium of photography and photo history, is addressing a central problem of not only art, but our overall culture of knowledge:
If a media system collapses, then at least we know how it has conditioned our knowledge. Committed to this program, I would like to present my work at Experimento Bio. The complete body of work are around 300 pictures. |
