About

In my artistic work I explore the nature of light by means of photographic experiments. The capacity of this medium, both material and immaterial, blurs the boundaries between technical implementation and aesthetic expression, dissolving the hierarchies between production and result. With each project I dive deeper into the realm of possibility, I explore tools and their effects to interlace them in the artistic process. Photosensitive paper acts as a receiver and a carrier of various light influences, which vary greatly depending on the situation and the material preparation: a pinhole camera which is carried by a pigeon; a whole room turned into a camera body and artificial light sources such as lasers, diodes and flashlights leave their traces; integrated, pre-treated films that influence the exposure; sharp object contours and blurred motion sequences that are depicted. The exploration of light as a medium is focal to my practice and I approach it in a range of ways. In the transformation of performative influences, as I call it, the relationship of light and image carries a sense of the unknown and the final result retains an experimental characteristic. Through this exploration I examine the interrelationships between influence and effect, whilst also observing the constants in image strength and colour development. I use the term Filtergram to describe this work process.

Individual groups of works concentrate on the interplay of concrete impulses, which are narrowed down and repeated until I achieve the aesthetic that I am looking for. The formal development of the works is closely linked to painting and performance: in this process of entangled materials the brushstroke, the static and dynamic objects, the set contour and the sprayed line are alienated and yet they maintain characteristics of directly depicted and visible gestures.

The crossing of genre boundaries raises many of the fundamental questions that I ask of photography: How are spaces depicted in two-dimensionality? Is depth only illusory? How can light as a material medium and the complexity of its effects be understood or grasped? What gaps exist in the relationship between moving and stationary objects, between exposure and carrier? My aim is to lend a photographic perspective to that which is hidden and to record ephemera in order to make visible the potential of light as a medium in the interweaving of the genres of painting, performance and photography.

Text by Helene Bosecker