PHOTOGRAPHY
"Homegrown: Celebrating the Arts of North Carolina", invitational show at SECCA (Southeastern Center for Contemporary Arts), Winston-Salem, NC, curated by Jeff Fleming. 2000
Facing South
2000-2004
Analogue/Digital
Facing South featured in a major joint photography exhibition with Hiroshi Sugimoto at Stockeregg Gallery in Zürich.
A series of digital photographs based on my initial disorientation after I found myself living in the North-American South. The vastness of the sky, the randomly scattered buildings, the omnipresent power poles with its lines crisscrossing the sky, the light seemingly refracted in the southern moist heat.
Facing South is a personal document by a "transplanted European" coming to terms with "The American South." Having grown up in the mountains of Switzerland, the vastness and flatness of the Southern Landscape are disorienting and sometimes frightening to someone used to the massive geological fix-points of the Alps. Facing South is in many ways a personal defense. I am responding to the vast and open land, the chaotic poetry of the rural existence and the apparent isolation of those dwelling in it, as well as the disproportionately fast-lived urban landscape around me. (My studio in North Carolina is in the center of the quintessential boom town of Charlotte, an environment which changes at the hands of a few, as if brought on by the season!)
Twin Fields
2000-2004
Analogue/Digital
As the boundaries between "real" and virtual are diffused, everything around us is potentially a projection surface. Is the landscape we see outside the car window, the train, really out there, or is it some distant reality transmitter into our eye? And what difference does it make? What is it that we can actually record, is it a single image stored in our memory, or is it the blur, the diffused state of some fleeting moment rushing through our consciousness? I do not have these answers, of course, but I can make an image of my world, the way I see it, or maybe better, of the way I remember it. Twin Fields begins with empty display windows in a Berlin Subway station, in which I project realities of some other parts of the world, like distant memories flashing for a short moment, just to disappear as the eye attempts to capture them.
Toxic Landscape
2000-2004
Analogue/Digital
A landscape has no fixed meaning, no defined view and no specific time space. It simply occurs, it is an event, a gigantic orchestration of matter. The human interference, if singled out as such, arbitrarily and chaotically alters its course, but not its existence.
Nirvana
2000-2004
Analogue/Digital
Joie Lassiter Gallery. Charlotte, North Carolina.