In the midst of social change and political turbulence around the world in the 1960s and 1970s, artists brought their cameras onto the streets, finding photography to be an immediate and accessible means of responding to their surroundings. Today our surroundings are increasingly abstract. You're standing in the presages of this world that has been flipped upside down and you are an artist who works with photography: What tools do you have at your disposal? You have got the camera, you‘ve got shapes, you’ve got light, you've got the world around you and you don't want to use the tools in the way that they have been used before - you want to reinvent them. As a result I am committed to developing photographic concepts and processes that culminate into abstract images that reflect contemporary discourses within society. The works function as both an important contribution to the issues of social and political development and the historical conversation between photography and painting. Photographs that essentially appear as paintings but whose aesthetics are a result of their underlying creation method that comprises analogies to, inter alia, data collection or surveillance procedures. The traces marks and fingerprints in the photographs of Die Summe meiner Daten result from a functional interaction between the human being and our todays communication devices. From the everyday use of smartphones and tablets, from typing and wiping, writing emails, texts or WhatsApp messages, booking train tickets or using other functional apps. Artistic strategies – within the limits of the medium of photography – make perceptible the seemingly hidden in a combination of photography and gestural painting. The superimposing structures on the displays culminate into palimpsest-like, painterly-appearing photographs that document the simultaneity of digitization, surveillance and identity.
It's that documentary aspect I'm completely addicted to. Integrating aesthetics in ethics simply allows me to enable greater access to the images – especially to a less academic audience. To some looking at the 52 images of the series maybe it looks just aesthetically sophisticated or brings up art historical references. But its aesthetic is about that capacity to reimagine. It's about that possibility. At a time where photography sinks into common graves, abstraction at least makes it necessary to pause for a moment to consider what the images mean, their genesis or process of creation. Therefore I understand the works as Trojan Horses, ideally fostering a broader dialogue – interest and hopefully awareness – about digitization and associated shifting reality of humanity. Since the first day of my research for Die Summe meiner Daten one thing has become crystal clear: This is the decade we were brainwashed into surveilling ourselves. I think what I needed to do was to respond in a visual language to the tension between fascination, wonder and anxiety generated by the technological development and its impact on the societal and political appearance of our time.
Photography is not only about seeing. It's also about reading. It's about listening and most of all about something to feel. And when I am telling you everything, what's left for you? Thus I will end my speech here but I am looking forward to carry on in conversations tonight and in the future.
Thank you.