How do I create a picture of my photographic work?
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About my photographic work
In the past, photographers were sometimes called light photographers. This implies that light and the use of it is something essential for photography.
At the same time, however, the rudimentarily important aspect is the image detail. In order to describe my way of working, which I would describe as outmoded, how I proceed in order to arrive at a subject for a picture, it is important for me to read a lot-mainly poems from the Baroque period.
For example, the collection of nature poetry "Earthly Pleasures in God", in which nature is reflected in its beauty and usefulness as a mediator between man and God. Also all forms of Japanese poetry from the last 1000 years, but also philosophical and theosophical works such as the writings of Jacob Böhme. I also enjoy looking at art. Old masters as well as contemporary art.
Due to the environment in which I grew up, my past and my own spirituality, I have always had a strong connection to nature.
Bei meinen Spaziergängen beobachte ich sehr viel. Manchmal suche ich auch gezielt nach Objekten, oft aber lasse ich mich einfach treiben. Wenn ich dann etwas entdecke bleibe ich stehen und halte erst einmal inne. Dann überlege ich, wie ich das gewählte Objekt aus der Natur in meinem Atelier zu einem Bild werden lassen kann. Durch die von mir eingesetzte und aus der Zeit gefallenen fotografische Technik wird alles einfach nur einmal mehr oder weniger neutral festgehalten. Im Augenblick der Belichtung, die bis zu 10 Minuten andauern kann, wird die Zeit eingefroren und es entsteht eine Darstellung, die weit über das hinaus geht was das menschliche Auge in der Realität sieht.
Erst danach entdecke ich dann in meinen Bildern, auch bedingt durch die immer differenziert in Erscheinung tretenden chemischen Artefakte, Dinge, die ich vorher selbst nicht bewusst wahrgenommen habe.
On my daily walks with my dog, I passed a meadow for years. One day I discovered a group of dried grasses swaying in the wind. I observed the grasses for several days, often for hours. The grasses seemed to me like a marvellous ballet performance. I felt a great fascination. The grasses also gripped me emotionally. In this moment of inner contemplation, of conscious engagement, my seemingly simple and yet complex pictorial worlds emerge.
There is a certain emotional charge to everything I depict, which the viewer can empathise with if they allow the picture to take effect on them.
Due to the calmness that my works radiate, they jump back and forth between fantasy and reality. Ultimately, this is also the secret-that my work consists of making this accessible to the viewer.