Starting from graphics, the work layering addresses the physical-chemical processes of analog photography, taking into account the aesthetic parameters of materiality, structure, color, and form. The focus is not on what is depicted, but on the processes of depiction. layering is composed of two levels: The photographic image of a drapery, which becomes rudimentarily visible as an autonomous composition of form and color. The imposing materiality of the image carrier (negative and positive film), which inscribes itself in the image through unintentional traces of use, through age-related material defects, and through deliberate damage to the film emulsion - in analogy to the printmaking process.

It is precisely the damaged surfaces that take on meaning. They emphasize the "opaque side of photography," as they compete with the transparency of what is depicted. layering is not only linguistically close to the concept of "multilayeredness," but also shows how both sides of photography, the transparent and the opaque, correlate.

Layering
2019
#1-8
single images 124 X 167 cm
analog c-print
framed with shadow gap

from various slide and negative films of 18 X 24 cm and 8 X 10 inch