I HATE MY OWN DYNAMIC ::::::::::::::::::::::::::::::::::::::::::
die liebeserklärung an die eigene UNZULÄNGLICHKEIT
the declaration of love to own INADEQUACY
2010, 2011
2*50m, 2*35m / 2010, 2011 / curonian spit / at the baltic / russia / straight / direct / ... exists on the left and right ..... sometimes fast::: too fast then slowly --- standing --- walking, running>>> not getting anywhere::: recline --- break with the past, past the future in speed ... 197 hours previously, but already after --- 1079 sft:::: too much too little ---- but always forward ---- where is the front ---- trecks ::: read, draw, visualize, --- loud silent scream whisper go down in noise ... somewhere in between, but certainly here.
the series deals with the transience of speed, and the perceptions that arise from such velocity. for this purpose, the photo is used as a frozen moment from a perception-film. the basis of the work are two series of photographs that were taken from a moving car in russia on the curonian spit. these oppose the dynamic view of landscape and its frozen quality in two very different atmospheres, but in the same scenario. out of the pure photography, through another analogue processing steps, a three-dimensional installation growth, which brings the viewer by their size back on the highway of the curonian spit.
raw material: a 2 * 50m spring and a 2 * 35m winter series, digitally photographed and printed on flex/foil.
realization:::
crop: extracts from the whole were searched and cropped by classical image compositions
gather and stitch: it describes the fact that it is possible to observe the environment with a certain sharpness and detail from a moving car, or amidst a fast paced life, despite the peculiar velocity. in the moment when the concentration departs based on an external influence, the film continues outside, but it can not be perceived in a sophisticated manner. so the part is up to the moment on which the concentration is again focused on the environment, gathered and sutured.
blur, smear: makes reference to the spraying of the slush and the melting ice layer on the windshield.
implants: found object stitched into the material just as a relief.
addition of real tracks: the white imprint of a truck skid mark documented a physical, dynamic process in the editing phase and it is also hints that the pictures were taken from the moving vehicle, but it also symbolizes the transience of dynamics, because the it is not possible to know the actual speed of the vehicle.
subtract: the small hidden details like butterflies and branches, which have been ground down as rubbings in the material, are subtle interventions that illustrate the depth of the work.
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