Rectangle ties in with the series Screenshot, and focuses in particular on the relationship between abstraction and photography. Here, abstraction is primarily examined for the aspect that John Hilliard has formulated in "Using Photography to exorcise Ghosts” and about which Emma Lewis writes in the "Shape of Light" catalog: "[...] by using strategies of abstraction, the photographer is able to stimulate in the viewer something that also happens when one looks at a drawing or painting [...]: a consciousness of the materials that are used and how the work is made. In other words, abstraction can help us to look not at an image on the photographic surface, but at the whole object itself.”
The series Screenshot proposes a dialogue between photography and painting. The large size of the photographs creates a direct relation to the viewer and refers to their reference frame of painting.
The images are created in a multilayered process from transformation and translation, using different media like painting, drawing, Cut-Out, collage, a screen and re-photographed material within the working process. The different media are like "collaborators", shaping the workflow with their specific quality, analogous to dancers, who interpret the score of a choreography. Deviations and errors in the translation, become a constructive part of the composition, e.g., moiree effect.
am / pm
The series am / pm was created during a residency in Paliano / Italy. A piece of paper, a pencil, a piece of cable, time of day, light and shadow, coincidence and drawing are the defining parameters of the composition. A cable falls on a sheet of paper at different times of the day. The resulting shape and its shadow are captured by pins.
In the series The Very, the photographic moment, the punctum, is crucial. Pictures from dance magazines serve as a starting point for a painterly revision. As long as the paint is wet, parts of the paper remain transparent. The result is a picture that is only visible for a short time. The photograph resembles this picture, defying its ephemeral state.
Invariant Variation examines the idea of variation based on a specific object: a knot. The title refers to the fact that, to some extent, variations change the appearance but not the underlying quality of an object. Mathematically, a knot is the embedding of a circle in three-dimensional space, including its continuous deformation. Each knot can be represented in different ways, no diagram is unique. The knot theory therefore deals with descriptions representing the same knot. Knot invariants are used in mathematics to distinguish knots.
In the series Invariant Variation, knots are viewed from different perspectives and reduced to their drawing. Points become lines, their shadows allude to a spatiality.
trio a continues the series reformulation both formally and in terms of content. In trio a #2, for example, colored plastic strings as three-dimensional lines define a space that becomes a picturesque-looking surface in photography. In their materiality and colourfulness, they contrast the background.
With the reformulation of material, a method of choreographic processes is transferred to the work with photography in order to reinterpret found footage from photographic documentations of dance performances.
In reformulation #2 the gaze of dancer and choreographer Yvonne Rainer points into a distant, imaginary place and thus expands the photographic surface into space. reformulation #3 is the collage of a photograph from 1908 with a private photograph. The stripes relate to the might materiality of the costume of the dancer Grete Wiesenthal and transform the pictured photography into an object.