Detailed structures of natural and urban landscapes merge in the distance into expansively laid out constructions. The transcendent gaze from above allows abstraction into surfaces and lines, and creates an ambivalent overview of formal clarity and deceptive beauty: the subject matter of these works visualizes the consequences of human interventions into nature.
These works are digital collages comprised of many hundreds of individual photos. The source materials are images freely available through Google Earth. Using this method, I challenge my position as photographer and author. Furthermore, the photographs lack concrete temporal references. The image material shown by Google Earth is taken at different points in time. This juxtaposition of different temporalities within a single picture undermines the apparently documentary character of the photographic image. In the tension between picture and representation, I engage in a creative recasting of the image surface.
The formats of the exhibited pictures are 110 cm x 130 cm [43,3 x 51,2 inches] or 175 cm x 230 cm (diptych) [68,9 x 90,6 inches].
The images are archival pigment prints on cotton rag paper and are presented unframed and mounted on the wall cartographylike with clamps.
Documentary Photography implies after all that these photographs maintain a particularly close affinity with the realities of a place. Photographers are thus ascribed the intention to strictly record and reflect with their photographs that what any other could equally encounter and to refrain from interpretation.
The aim is to produce undecidability expressing that agreements about the characteristics of a place should always be contrasted with competing alternatives. Rather than plain recording the photographs seem to hide something, instead of impartial enlightenment questions arise. In the digital period, where reality and virtuality intersect, it is particularly the query of construction and deconstruction of reality: How real is this reality and how authentic are the ways of showing it?
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