Visual Artist
PROJEKT A ︎︎︎ HAPEX LEGOMENON
A series with properties of arranged photography, shows the world in a descriptive manners. All does justice to what is shown. Size, orderly composition and the natural point of view. It is what it is with the faithful observer being on the go. The viewer might soon realizes that his first conclusion is not right.
Instead of getting a hold on the world, holding onto to a piece of the world and saving it, the world is stolen from him/her.
C-Print
(594 x 841 mm)
Each print £1000
edition of 3
This
newly introduces series has all the properties of arranged photography, as the
images show the world in a descriptive manner. Everything does justice to what
is observed: the size, the orderly composition and the natural point of view.
It is what it is. It’s a clear photograph, without make-up or frills. It gives
the impression of that the faithful observer is on the go but it just seems
this way.
The viewer might soon realizes that his first conclusion is not right. Instead of getting a hold on the world, holding onto to a piece of the world and saving it. The world is stolen from us.
The inconsistency of the chosen subjects contradicts any desire to document it. Some Photographs are about the existing space, sometimes untouched, or taken up by objects, Other images may not depict a panoramic view and show shapes and lines of importance to the artist.
In several images we see unspecified objects or collection of objects – but just when we think we have found a link, the relation of something alienated creates an absence. In fact, everything is an exception. Something eludes us. Something is missing. This is what it is about: that which escapes us, not by coincidence but essentially. The viewer feels that ‘something’ links these images, but we do not know what. It is not about what I describe, but about what is not there, something which cannot be shown in any other way then as elusive.
There is this remarkable characteristic to avoided any specific narrative structure. What makes them strange is that we do not have the urge to wonder what precedes this moment and what follows it. They are cut off from the before and after. It’s a one off.
The viewer might soon realizes that his first conclusion is not right. Instead of getting a hold on the world, holding onto to a piece of the world and saving it. The world is stolen from us.
The inconsistency of the chosen subjects contradicts any desire to document it. Some Photographs are about the existing space, sometimes untouched, or taken up by objects, Other images may not depict a panoramic view and show shapes and lines of importance to the artist.
In several images we see unspecified objects or collection of objects – but just when we think we have found a link, the relation of something alienated creates an absence. In fact, everything is an exception. Something eludes us. Something is missing. This is what it is about: that which escapes us, not by coincidence but essentially. The viewer feels that ‘something’ links these images, but we do not know what. It is not about what I describe, but about what is not there, something which cannot be shown in any other way then as elusive.
There is this remarkable characteristic to avoided any specific narrative structure. What makes them strange is that we do not have the urge to wonder what precedes this moment and what follows it. They are cut off from the before and after. It’s a one off.
This
is a paradox: it only exists as a border. The now is the only moment in time
that really exists. We remember the past; we foresee the future. These are
mental operations. The only real is the “hic et nuc”; (from the Latin) - the
imperative motto for the satisfaction of desire: “I need it, here and now”
The now is ungraspable when it appears, it disappears. It was not there a minute ago. Then it is no longer there. The now consists of a division between the expansive times on either side. Its nothing more then a micro minute of a border. It is almost nothing and yet complete in itself. It can only be experienced as non-existent, as its captured and taken.
The border moment of time refers back to space. Just like time is reduced to less than a moment, what ‘is’ in the world becomes less than a dot. This is when the wonder occurs. It is as if the world holds its breath for a split second. By freeing the world of linear time, it becomes the threshold; it becomes ‘elsewhere’. Meeting then means that extremely rare, always once-only moment when a detail allows the world to present itself in its full dimension. This is why my work is not recording photography. The better way to describe it is as ‘encountering photography’
Seeking out this one-off moment is impossible. At most, it happens to us. We bump into it unexpectedly, like a gift. It’s like a hapax legomenon. This linguistic concept refers to a world that is only found once in a continues text. The world which we are used to experiencing, forms a king of continues text in space and time. There, this one – off experience occurs, suddenly and unpredictably. For one brief moment, the world speaks to us. In this sense each image of mine is a hapax legomenon. The choice of subject is definitely not arbitrary – on the contrary. The interruption of the world is an exceptional event.
The now is ungraspable when it appears, it disappears. It was not there a minute ago. Then it is no longer there. The now consists of a division between the expansive times on either side. Its nothing more then a micro minute of a border. It is almost nothing and yet complete in itself. It can only be experienced as non-existent, as its captured and taken.
The border moment of time refers back to space. Just like time is reduced to less than a moment, what ‘is’ in the world becomes less than a dot. This is when the wonder occurs. It is as if the world holds its breath for a split second. By freeing the world of linear time, it becomes the threshold; it becomes ‘elsewhere’. Meeting then means that extremely rare, always once-only moment when a detail allows the world to present itself in its full dimension. This is why my work is not recording photography. The better way to describe it is as ‘encountering photography’
Seeking out this one-off moment is impossible. At most, it happens to us. We bump into it unexpectedly, like a gift. It’s like a hapax legomenon. This linguistic concept refers to a world that is only found once in a continues text. The world which we are used to experiencing, forms a king of continues text in space and time. There, this one – off experience occurs, suddenly and unpredictably. For one brief moment, the world speaks to us. In this sense each image of mine is a hapax legomenon. The choice of subject is definitely not arbitrary – on the contrary. The interruption of the world is an exceptional event.