is more a question than a statement.
With the ever changing and rapid technological progress, computers and robots become more
and more similar to us as human beings. We are in the midst of a process of assimilation and competition.
Mannequins in the display windows seem to have emotions, relationships and communication.
I am fascinated by the dialogue which arises between the inanimated objects before and behind the glass,
the transparent wall... I am following the fascination of beauty, aesthetics and the question in the Background:
What makes us human?
started in 2012 by chance, when my camera and me passed by the Neue Nationalgalerie in Berlin. I was fascinated by the interplay between the construction of the
building and the light. It was like a dance inviting me directly for photography. This spirit remained constantly during the next years. I followed the building until it was closed for
restoration at the beginning of 2015. In March 2016 I visited the Barcelona Pavillon, where the same inner experience happened. At that moment, it became The MIES Project... Buildings constructed
by Mies after 1928:
In October 2016 I visited the Seagram Building in New York; the Villa Tugendhat in Brno, the Czech Republic. My last station was in October 2017 and May 2018
Photographing The MIES Project residents started inviting me to their privat apartments. It was fascinating and it insprired my photographic eye, how they designed the space, which was once designed by Mies van der Rohe.
A warm `Thank you` to all the people who have joined the project so far!
When I take photographs of a building, in a way I have to fall in love with it.
This process is out of my control. Then I follow the building through different daytimes, seasons and events
with it`s special light, structure and colour.
I go deep and deeper looking for the abstraction, the transcendent fullness inside and outside.
In the interplay between the structure of a building and the place, the people around it.
It is real and it is not... reality seen through the eye of my camera.
Equipped with only one or two rangefinder cameras, I let myself drift, looking for the moment when the focus switchs from external reality to internal vision.
I seek out particular places and I like to stay close to the buildings that I take pictures of.
Everything else is determined by the light, the time of the day, the season and the mood I want to convey on that particular day.
Images just come to me- or they don`t. So when this happened I follow my photographic intuition that I always rely on when composing a photo.
At the same time, I proceed in a very systematic way by varying exposure time, aperture size, focus, viewing angle and distance.
This is extremely important when shooting reflections, as the different layers of the subject overlap in the final picture and this is what makes this photographic interaction so sensitive.
With respect to the digital negatives that my camera delivers, I do what I have been doing ever since I started my photographic career in the 1980s (in those days I worked exclusively in black/ white). -
by developing my photos myself!
I reject any kind of manipulation or staging that goes beyond simple photo development. Nothing is taken away, nothing added. The final image shows the subject exactly how I captured it in
my reality seen through my photographic eye