MacGuffin, 2020 ff.
For the work MacGuffin I reconstruct scenery from Alfred Hitchcock films. The reconstructed settings are photographed in fine detail.
Lens disassembly, 2019
For the twelve-part work Lens Disassembly, I documented photographically how I disassemble the lens used for the documentation piece by piece. The first unexposed photo is still taken with the lens cap on. Bit by bit, disassembled components of the lens can be seen. Since in the further course the lens system was also disassembled, focal length and sharpness change and more and more aberrations appear. Finally, the iris diaphragm has been removed and the photo is is overexposed.
Bauhaus Dessau, 2019 (selection)
Museum for Photography, Braunschweig
Size comparison and ratio, 2018
Five images (seen here in sequence) show a seemingly always the same section of a room installation with two suspended photos.
The photos show a chair and a pencil sharpener. Two objects whose purpose and size are understood cross-culturally. The first picture shows the installation view in which the chair is
shown on a scale of 1:1. The last image shows the pencil sharpener in its original scale.
With each of the five images in the series, the side lengths of the photos halve.
The great fireplace room I-III, 2014, 2015, 2016
Download PDF (0,6 MB):The great fireplace room - an analysis with details
The DQ reference image and its mechanical reproduction, 2016
The DQ (Digital Quality) reference image was developed by Chemieverband Imaging und Photo e.V. and Photoindustrie-Verband e.V..
It is intended to be a simple method for optimal and consistent image quality for private users when dealing with digital photographs.
Kundmanngasse 19, 2015
In 1925 Margaret Stonborough Wittgenstein commissioned the architect Paul Engelmann to construct a representative urban mansion in Vienna.
In 1926 her brother, the philosopher Ludwig Wittgenstein, became involved in the design process and assumed responsibility for most of the planning.
256 kB.jpg hexadecimal of itself, 2014
The image and his ideational object, 2013/2014 (selection)
Installation views, E-Werk, Freiburg
According to Plato's "theory of Forms", everything material that we perceive is only the image of a "higher", metaphysical idea. We cannot grasp this original state of all things with our senses. We perceive the world as it is NOT, but perhaps could be. We therefore do not perceive the world as it is, but see images of the "things in themselves" in different states. more...
In the series "The image and his ideational object" this Platonic assumption is played with by depicting a series of images within one picture. is represented: On the one hand, the photographic image is an indexical representation of the extra-image reality; on the other hand, the object depicted in the image is depicted object is already itself authored as an image, namely as it appears on the wall, in the catalog, or on the monitor. Moreover, the depicted objects are partly in different states of transience or are replaced by other objects. In the picture "Fruit Bowl" the object, the fruit, finally dissolves and is completely replaced by cubes and by its own image.
In the series, in addition to this epistemological reference, there is also a photo-analytical one. Thus, various photographic parameters such as time, color, perspective and image ratio, by means of which one can orient oneself and experience space, are examined.
Some images are inscribed, for example, with an explicitly depicted duration of time, false perspective, or the shifted relationship of quantities. These perceptual breaks can be read as clues to the production process of the images. If the construction of a still life with rose and the subsequent and the subsequent work of reproduction with cubes and many photographs, the time that has passed in the process is inscribed in the work: the rose seems to be in bloom, but it is not visible. seems to bloom, but it is already withered.
Download PDF (4MB):PANHORAMA (Webansicht)
Installation view Gallery Queen Anne, Leipzig
The work „Cloud“ is an abstract representation of self-similarities within cloud structures. The image dissolves into increasingly minute details that show the same picture or parts of the same cloud over and over again.
In cartography a map projection is the representation of a three-dimensional sphere (for example, the Earth) on a two-dimensional surface, which is referred to as a coordinate reference system. The representation of a sphere on a two-dimensional surface is also often simply called a projection. more...
Depending on the angle to the pre-defined equatorial line, in the projection the poles are distorted outwards. The work World presents a coordinate system, the reference for which is a 30-centimeter high, inflatable model of the earth. The 648 photographs of the three-dimensional globe were taken in gradations of 10 degrees and arranged in 36 columns and 18 rows. In the photographic representation of a sphere, the surface that is nearest to the lens always appears largest. As one moves towards the edges of the projection, the smaller the surfaces portrayed become relative to the sphere itself. As a result, the surface photographed in 10-degree increments is always the largest and most visible. What emerges is a cartographic image of the Earth. Due to the lines of longitude running through Poland the pole regions are distorted. This method of depicting the earth on a two-dimensional surface is the most common form of projection and is referred to as the Mercator projection system.
Installation view, c-prints, framed, each 150 x 65 cm
You can see a tree, divided into its units, defined by orders.
Starting with the trunk, in first order on the first picture, the branches follow in second, third and fourth order
on the next pictures. In the fifth picture, the leaves are in fifth order. Branches and leaves are arranged schematically
as a model illustration of the tree, the scale of all units is 1:2.
in situ, 2009
Installation view Gallery Quartier, Leipzig
Installation view Deichtorhallen, Hamburg
Archaeology on site is all about reinstating objects in their present condition to something of their potential, even of their aspirations originally revealed in the archaic context. What was simply in existence until the present-day can now become tangible with the full impact of its different layers. The technical term for this is "in situ".
in situ – studies
Contingency in form, 8 C-Prints, 17-24 x 20 cm
methodological studies, 16 C-Prints, 50 x 30 cm - 60 x 40 cm
1000 photometric measurements in lux of a burning candle before a white wall taken with a Gossen Multisix exposure meter, 2009
The image entitled „1000 photometric measurements in lux of a burning candle before a white wall taken with a Gossen Multisix exposure meter‟ measures 84 x 65 centimetres. The surface is a white wall and the adjoining floor, upon which a burning candle stands. The 1000 numerical exposure values shown on part of the device’s display were scanned in their original size, arranged and printed. The sections of the display correspond in size and arrangement to the surfaces that were measured on the wall and floor. When viewing the image from a greater distance, different shades of grey emerge due to the relation of the black and grey components of the different numerals.
Apple ≠ Apple, 2009
In the recognition process, which transforms the representations contained in pictures of substituted objects – the concepts – back into (virtual) objects, different reference sizes come into play. In addition to similarities in form and color to the pictorial correlate, which refers as a signifying concept (significate) to the material form (signifier), contextual embedding is of great importance both in terms of the content of the image and of reception aesthetics. more...
We unequivocally recognize the representation of an apple as such if the portrayal of its material form, that is of the real thing, is more or less optically similar. Yet the similarity of the portrayed and real object can be great or small, depending on the level at which the reception takes place and the frame of reference. If the representation is a focused, high-resolution photo of a well lighted, healthy apple, the connection to its material equivalent will be simple. It is, however, initially more difficult to identify red dots on a white background as representations of apples. If one were to draw a face around these dots one would tend to see them as freckles. If curvy lines were to be drawn over them they could be seen as punctuation marks. Yet if we were to add green leaves and branches to the surface, the dots would certainly represent apples (or maybe cherries, so long as a cherry tree doesn’t happen to be clearly visible somewhere nearby). Thus the things that we think we see find their substantial correspondence through explication, also in relation to the things around them, which serve as objects of comparison. This comparison can be helpful with identically portrayed simulacra as well, provided that that which is portrayed does not generally appear in isolation or if it describes the plural form and the identification emerges from the repetition of the individual object, for example cows in a herd or the three dots at the end of this sentence, which …
The hermeneutic aptitude of recognizing representations and their sensory connections can be described as the intelligence of the eye, which is to be distinguished from cognitive processes. This intelligence convinces us that the portrayal of the apple represents an apple and that of a pipe a pipe (without necessarily being one or the other). Additional correlates, such as the scale, provide information about other properties of things that are not perceived by the senses, for example weight and the associated position within the Earth’s gravitational system.
One sees that the apple is equivalent to an apple and believes that it is not equivalent to an apple (but rather, perhaps, to epoxy resin). One sees that it is not equivalent to 256 grams and thinks that it is equivalent to 256 grams (and is worth, perhaps, 69 cents). These opposing equivalencies are reflected semiotically in the form of apples and weights and semantically in the form of the formulas “apple = epoxy resin” and “apple ≠ 256 grams”. In their pictorial and punctuational combination they form an inverse, cross-over correspondence between one image and another and – within the images themselves – between the “intelligent eye” and cognitive recognition.
In the discipline of architecture a one-room house or a single room is referred to in German as “Gaden”. A cocoon is a shell that the larvae of various insects create in order to pupate inside. As a space of rest and isolation it serves to protect from external influences.
Download PDF (1MB): Gaden
Still Lifes, 2006-2020
Kokon (selection), 2006
Installation view HGB, Leipzig
A cocoon is a shell that the larvae of various insects create in order to pupate inside. As a space of rest and isolation it serves to protect from external influences.
2020 – Denkzeit – Kulturstiftung des Freistaates Sachsen
„IM FLUTLICHT – Historische Fotografien und zeitgenössische Kunst“, Museum of Fine Arts, Leipzig (Catalog)
„PARADIGMA Blickwechsel 2019_copyright, Tapetenwerk, Leipzig
„25. Leipziger Jahresausstellung: SILBER“, Baumwollspinnerei Werkschauhalle, Leipzig (Catalog)
„Kundmanngasse 19„ Josef Filipp Gallery, Leipzig
„Bizarre!“, AIAP, Monaco (Catalog)
„PAN Amsterdam“ represented by Rutger Brandt Gallery, Amsterdam
„REALITÄTEN ("Komplizen"-Ausstellung zum f/stop Festival)“, Gallery Queen Anne, Leipzig
„Nachbilder“, Gallery Queen Anne, Leipzig
„Panhorama“, Gallery Queen Anne, Leipzig (Solo; Catalog)
„Gruppenausstellung der Träger des EHF 2010-2012 – Stipendiums“, Akademie der Konrad-Adenauer-Stiftung, Berlin
„Frei nach Malerei“, Künstlerhaus Dortmund
„gute aussichten - junge deutsche fotografie 2009/2010“ mit der Arbeit „in situ“ Museum Marta, Herford
„So jung kommen wir nicht mehr zusammen...“, Pasinger Fabrik, München (Catalog)
„500 mal x“ Ausstellung zum Studienpreis der Hochschule für Grafik und Buchkunst, Leipzig (Catalog)
„Ausgezeichnet“, Pressehaus Gruner und Jahr; Hamburg
„Private Rituale“, Photogallery Friedrichshain; Berlin