120 x 120 cm (Ø 110 + 10 cm white border), Fine-Art-Print on Hahnemühle paper, 6+2AP, signed and numbered on certificate of authenticity. 80 x 80 cm (Ø 73 + 7,5 cm white border), Fine-Art-Print on Hahnemühle paper, 10+2AP, signed and numbered on certificate of authenticity. 50 x 50 cm, C-Print, 20+2AP, signed and numbered on certificate of authenticity. 23 x 23 cm, C-Print, open edition.
120 x 120 cm (Ø 110 + 10 cm white border), Fine-Art-Print on Hahnemühle paper, 6+2AP, signed and numbered on certificate of authenticity. 80 x 80 cm (Ø 73 + 7,5 cm white border), Fine-Art-Print on Hahnemühle paper, 10+2AP, signed and numbered on certificate of authenticity. 50 x 50 cm, C-Print, 20+2AP, signed and numbered on certificate of authenticity. 23 x 23 cm, C-Print, open edition.
120 x 120 cm (Ø 110 + 10 cm white border), Fine-Art-Print on Hahnemühle paper, 6+2AP, signed and numbered on certificate of authenticity. 80 x 80 cm (Ø 73 + 7,5 cm white border), Fine-Art-Print on Hahnemühle paper, 10+2AP, signed and numbered on certificate of authenticity. 50 x 50 cm, C-Print, 20+2AP, signed and numbered on certificate of authenticity. 23 x 23 cm, C-Print, open edition.
120 x 120 cm (Ø 110 + 10 cm white border), Fine-Art-Print on Hahnemühle paper, 6+2AP, signed and numbered on certificate of authenticity. 80 x 80 cm (Ø 73 + 7,5 cm white border), Fine-Art-Print on Hahnemühle paper, 10+2AP, signed and numbered on certificate of authenticity. 50 x 50 cm, C-Print, 20+2AP, signed and numbered on certificate of authenticity. 23 x 23 cm, C-Print, open edition.
Faster, harder, louder (2017)
Als Fotograf für die Mode- und Werbeindustrie gehört digitale Bildmanipulation zum Alltag. Körper werden bis zur Unmöglichkeit überschönt, Formen geändert und ganze Scheinwelten kreiert. Dabei wird qualitativ so hochwertig gearbeitet, daß die Manipulationen kaum mehr zu entlarven sind. Konsument und Industrie lechzen nach immer extremeren Standards, die Tür zu einer (Bild-)welt die noch schöner, schlanker, fetter - faster, harder, louder - ist wird mit Gewalt aufgetreten.
Und doch ist dies die Bildwelt und Methodik die auch unseren freien künstlerischen Arbeiten zugrunde liegt, die Intention ist jedoch eine andere. Nicht die Täuschung des Betrachters ist das Ziel, sondern vielmehr die Schulung des Bewusstseins für das was möglich ist. Überzogene Proportionen, Verwachsungen die im wahren Leben so nicht möglich wären, Überperfektion und das Ausserkraftsetzen physikalischer und biologischer Gesetzmäßigkeiten enttarnen die scheinbar perfekten Erscheinungen als Fake, zeigen auf, daß die Fotografie ihrer Rolle als abbildendes Medium der Realität und Wahrhaftigkeit längst entsagt hat.
As a photographer for the fashion and advertising industry, digital image manipulation is part of everyday life. Bodies are prettified to the point of impossibility, shapes are changed, and illusions are created. The work is of such a high-quality that the manipulations can hardly be unmasked. Consumers and the industry are eager to find ever more extreme standards, the door to a world that is even more beautiful, slimmer and fatter - faster, harder, louder – gets opened by force.
And yet this is the picture language and methodology that is also the basis of our free artistic work, but the intention is different. It is not the deception of the observer, but rather the training of consciousness for what is possible. Excessive proportions, proliferations that would not be possible in real life, overperfection and the extinction of physical and biological laws, reveal the seemingly perfect phenomena as a fake, show that photography has long since renounced its role as an imaging medium of reality and truth.