-
Great Experience
series of 6
2022
I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far. While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses.
1/6 -
Great Experience
series of 6
2022
I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far. While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses.
2/6 -
Great Experience
series of 6
2022
I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far. While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses.
3/6 -
Great Experience
series of 6
2022
I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far. While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses.
4/6 -
Great Experience
series of 6
2022
I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far. While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses.
5/6 -
Great Experience
series of 6
2022
I have long been fascinated by the formal aesthetics of these places, but at the same time I have an aversion to them, since they consume huge amounts of resources and land and represent a form of elitism that mainly caters to an affluent white male audience. Despite efforts to modernise this image, high membership fees as well as the habitus of the golf world are symptomatic of the limited progress that has been made thus far. While exploring satellite images on Google Maps, I discovered sandy areas of distinctive shapes on a golf course in Cancún. These sand-filled depressions that serve as hazards take the resemblance of puddles, clouds or lakes and look like abstract paintings. The shapes are so unusual that I can hardly assume they were the result of deliberate intention: They almost look comic-like and stand in stark contrast to the otherwise well-planned and clinical-looking golf courses.
6/6
-
hier, hier
2022
still lifes combining plants, waste, kitchen utensils, stones and fruits
1/2 -
hier, hier
2022
still lifes combining plants, waste, kitchen utensils, stones and fruits
2/2
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HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
1/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
2/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
3/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
4/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
5/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
6/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
7/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
8/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
9/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
10/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
11/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
12/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
13/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
14/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
15/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
16/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
17/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
18/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2015
Hood consists of 3 Series of approximatively 100 images each. During a year I moved cities tree times, this is a documentation of each neighborhood I lived in. Wiedikon in Zürich, Weissenbühl in Bern and Schaerbeek in Brussel. The images where taken during my daily walks.
19/19
-
They see me
Series of 11 images
2015
1/11 -
They see me
Series of 11 images
2015
2/11 -
They see me
Series of 11 images
2015
3/11 -
They see me
Series of 11 images
2015
4/11 -
They see me
Series of 11 images
2015
5/11 -
They see me
Series of 11 images
2015
6/11 -
They see me
Series of 11 images
2015
7/11 -
They see me
Series of 11 images
2015
8/11 -
They see me
Series of 11 images
2015
9/11 -
They see me
Series of 11 images
2015
10/11 -
They see me
Series of 11 images
2015
11/11
-
Juste une Pause
Series of 71 images, publication available on demand
2020
1/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
2/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
3/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
4/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
5/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
6/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
7/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
8/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
9/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
10/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
11/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
12/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
13/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
14/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
15/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
16/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
17/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
18/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
19/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
20/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
21/21
-
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
1/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
2/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
3/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
4/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
5/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
6/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
7/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
8/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
9/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
10/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
11/12 -
Centre d’Art Contemporain
Book design: Katharina Tauer and Martina Vierthaler
2017
photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017" documenting the spaces where the CAC used to be located, focusing on architecture and light.
12/12
-
Track, Bow, Way
(documentation: Prune Simon-Vermot)
2018
The series track, bow, way is an exploration of my neighborhood, a former industrial area that has been taken over by the real estate industry in the city of Zurich with the aim of revaluing it. I moved along a disused railway line, now transformed into a pedestrian path. It is a space where every meter now seems to be planned and developed to the optimum. While the abstract compositions of these photographs contrast with the organic forms of the Jura Bernois landscape, the atmosphere is just as calm: these meticulous urban environments spontaneously remind me of the uninhabited emptiness of the countryside in which I grew up for some years.
1/1
-
Place de la Reine (les poteaux)
2016
1/9 -
Place de la Reine (les poteaux)
2016
2/9 -
Place de la Reine (les poteaux)
2016
3/9 -
Place de la Reine (les poteaux)
2016
4/9 -
Place de la Reine (les poteaux)
2016
5/9 -
Place de la Reine (les poteaux)
2016
6/9 -
Place de la Reine (les poteaux)
2016
7/9 -
Place de la Reine (les poteaux)
2016
8/9 -
Place de la Reine (les poteaux)
2016
9/9
-
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
1/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
2/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
3/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
4/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
5/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
6/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
7/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
8/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
9/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
10/11 -
Articulation 218–272
Series of 10 Inkjet print on blueback paper
2014
Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes in Marfa – an angular, surreal, and graphic space is constructed.
11/11
-
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
1/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
2/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
3/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
4/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
5/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
6/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
7/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
8/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
9/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
10/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
11/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
12/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
13/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
14/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
15/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
16/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
17/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
18/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
19/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
20/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
21/22 -
Seeschlachten und Eukalyptus
Series of 43
2013
Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the origin where identity is forged – this series is composed of childhood memories and fragments of utopia, encompassing gestures, objects, landscapes, portraits, observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is more an impression than a place, situated somewhere between Constantine, Tunis, Männedorf, and other cities.
22/22
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round and square
2016
formal experimentation with sunlight, mirorrs and shadows on grey background.
1/7 -
round and square
2016
formal experimentation with sunlight, mirorrs and shadows on grey background.
2/7 -
round and square
2016
formal experimentation with sunlight, mirorrs and shadows on grey background.
3/7 -
round and square
2016
formal experimentation with sunlight, mirorrs and shadows on grey background.
4/7 -
round and square
2016
formal experimentation with sunlight, mirorrs and shadows on grey background.
5/7 -
round and square
2016
formal experimentation with sunlight, mirorrs and shadows on grey background.
6/7 -
round and square
2016
formal experimentation with sunlight, mirorrs and shadows on grey background.
7/7