-
hummings
(If we could see the lines of our connections, how clear would they be?) 2023–ongoing
1/9 -
hummings
(If we could see the lines of our connections, how clear would they be?) 2023–ongoing
2/9 -
hummings
(If we could see the lines of our connections, how clear would they be?) 2023–ongoing
3/9 -
hummings
(If we could see the lines of our connections, how clear would they be?) 2023–ongoing
4/9 -
hummings
(If we could see the lines of our connections, how clear would they be?) 2023–ongoing
5/9 -
hummings
(If we could see the lines of our connections, how clear would they be?) 2023–ongoing
6/9 -
hummings
(If we could see the lines of our connections, how clear would they be?) 2023–ongoing
7/9 -
hummings
(If we could see the lines of our connections, how clear would they be?) 2023–ongoing
8/9 -
hummings
(If we could see the lines of our connections, how clear would they be?) 2023–ongoing
9/9
-
colored flags (community garden policies)
ongoing project
2023
In this ongoing series, I document the flags used for communication in a community garden in Zurich, where I actively participate. The garden is situated in a very central and densely populated area, serving as a convergence point for people of many different backgrounds. The flags allow a form of communication without words or contact and are essential for the functioning of the collaborative project. The images are arranged to follow the sequence of tasks, with each flag color bearing a significance. Together, they form an endless shape that mirrors the rhythms of nature throughout the year.
1/7 -
colored flags (community garden policies)
ongoing project
2023
In this ongoing series, I document the flags used for communication in a community garden in Zurich, where I actively participate. The garden is situated in a very central and densely populated area, serving as a convergence point for people of many different backgrounds. The flags allow a form of communication without words or contact and are essential for the functioning of the collaborative project. The images are arranged to follow the sequence of tasks, with each flag color bearing a significance. Together, they form an endless shape that mirrors the rhythms of nature throughout the year.
2/7 -
colored flags (community garden policies)
ongoing project
2023
In this ongoing series, I document the flags used for communication in a community garden in Zurich, where I actively participate. The garden is situated in a very central and densely populated area, serving as a convergence point for people of many different backgrounds. The flags allow a form of communication without words or contact and are essential for the functioning of the collaborative project. The images are arranged to follow the sequence of tasks, with each flag color bearing a significance. Together, they form an endless shape that mirrors the rhythms of nature throughout the year.
3/7 -
colored flags (community garden policies)
ongoing project
2023
In this ongoing series, I document the flags used for communication in a community garden in Zurich, where I actively participate. The garden is situated in a very central and densely populated area, serving as a convergence point for people of many different backgrounds. The flags allow a form of communication without words or contact and are essential for the functioning of the collaborative project. The images are arranged to follow the sequence of tasks, with each flag color bearing a significance. Together, they form an endless shape that mirrors the rhythms of nature throughout the year.
4/7 -
colored flags (community garden policies)
ongoing project
2023
In this ongoing series, I document the flags used for communication in a community garden in Zurich, where I actively participate. The garden is situated in a very central and densely populated area, serving as a convergence point for people of many different backgrounds. The flags allow a form of communication without words or contact and are essential for the functioning of the collaborative project. The images are arranged to follow the sequence of tasks, with each flag color bearing a significance. Together, they form an endless shape that mirrors the rhythms of nature throughout the year.
5/7 -
colored flags (community garden policies)
ongoing project
2023
In this ongoing series, I document the flags used for communication in a community garden in Zurich, where I actively participate. The garden is situated in a very central and densely populated area, serving as a convergence point for people of many different backgrounds. The flags allow a form of communication without words or contact and are essential for the functioning of the collaborative project. The images are arranged to follow the sequence of tasks, with each flag color bearing a significance. Together, they form an endless shape that mirrors the rhythms of nature throughout the year.
6/7 -
colored flags (community garden policies)
ongoing project
2023
In this ongoing series, I document the flags used for communication in a community garden in Zurich, where I actively participate. The garden is situated in a very central and densely populated area, serving as a convergence point for people of many different backgrounds. The flags allow a form of communication without words or contact and are essential for the functioning of the collaborative project. The images are arranged to follow the sequence of tasks, with each flag color bearing a significance. Together, they form an endless shape that mirrors the rhythms of nature throughout the year.
7/7
-
Great Experience
series of 6
2022
Series of six abstract black-and-white images capturing the sand formations found on a golf course in Cancún. On this particular golf course, those sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes reminiscent of puddles, clouds, or lakes. They piqued my interest with their unexpected forms, appearing almost comical and starkly contrasting with the questions golf courses pose about territorial ownership and the environmental repercussions of water usage.
1/6 -
Great Experience
series of 6
2022
Series of six abstract black-and-white images capturing the sand formations found on a golf course in Cancún. On this particular golf course, those sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes reminiscent of puddles, clouds, or lakes. They piqued my interest with their unexpected forms, appearing almost comical and starkly contrasting with the questions golf courses pose about territorial ownership and the environmental repercussions of water usage.
2/6 -
Great Experience
series of 6
2022
Series of six abstract black-and-white images capturing the sand formations found on a golf course in Cancún. On this particular golf course, those sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes reminiscent of puddles, clouds, or lakes. They piqued my interest with their unexpected forms, appearing almost comical and starkly contrasting with the questions golf courses pose about territorial ownership and the environmental repercussions of water usage.
3/6 -
Great Experience
series of 6
2022
Series of six abstract black-and-white images capturing the sand formations found on a golf course in Cancún. On this particular golf course, those sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes reminiscent of puddles, clouds, or lakes. They piqued my interest with their unexpected forms, appearing almost comical and starkly contrasting with the questions golf courses pose about territorial ownership and the environmental repercussions of water usage.
4/6 -
Great Experience
series of 6
2022
Series of six abstract black-and-white images capturing the sand formations found on a golf course in Cancún. On this particular golf course, those sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes reminiscent of puddles, clouds, or lakes. They piqued my interest with their unexpected forms, appearing almost comical and starkly contrasting with the questions golf courses pose about territorial ownership and the environmental repercussions of water usage.
5/6 -
Great Experience
series of 6
2022
Series of six abstract black-and-white images capturing the sand formations found on a golf course in Cancún. On this particular golf course, those sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes reminiscent of puddles, clouds, or lakes. They piqued my interest with their unexpected forms, appearing almost comical and starkly contrasting with the questions golf courses pose about territorial ownership and the environmental repercussions of water usage.
6/6
-
hier, hier
2022
still lifes combining plants, waste, kitchen utensils, stones and fruits gathered in Altstetten on the way to my studio.
1/2 -
hier, hier
2022
still lifes combining plants, waste, kitchen utensils, stones and fruits gathered in Altstetten on the way to my studio.
2/2
-
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
1/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
2/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
3/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
4/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
5/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
6/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
7/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
8/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
9/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
10/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
11/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
12/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
13/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
14/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
15/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
16/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
17/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
18/19 -
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
three series of 84, 83 and 97 images
2016
Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are the urban landscapes unveiled by a temporary gaze, cast upon the different neighborhoods welcoming me this year. As successive relocations sharpen my perception of these places, I make an effort to collect their shadows, angles, and corners to create a personal map. Gathered from the immediate surroundings, along increasingly familiar routes, these images serve as entries in a visual notebook.
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
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
1/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
2/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
3/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
4/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
5/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
6/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
7/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
8/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
9/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
10/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
11/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
12/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
13/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
14/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
15/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
16/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
17/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
18/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
19/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
20/21 -
Juste une Pause
Series of 71 images, publication available on demand
2020
The series „juste une pause“ takes a stroll through a quiet cityscape, empty of human presence. The images alternate between architectural details and sceneries with natural elements. Te project was made as an exercice of mindfullness, after stepping away from photography for several years.
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)
2016/2022
Series of nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. The images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency. During my residency, the November 2015 Paris attacks occurred, which were carried out by the Brussels ISIL terror cell. Consequently, the terror alert level in the Brussels metropolitan area was raised to its highest level, and the Belgian government imposed a security lockdown on Brussels, leaving the streets empty during six days.
1/9 -
Place de la Reine (les poteaux)
2016/2022
Series of nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. The images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency. During my residency, the November 2015 Paris attacks occurred, which were carried out by the Brussels ISIL terror cell. Consequently, the terror alert level in the Brussels metropolitan area was raised to its highest level, and the Belgian government imposed a security lockdown on Brussels, leaving the streets empty during six days.
2/9 -
Place de la Reine (les poteaux)
2016/2022
Series of nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. The images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency. During my residency, the November 2015 Paris attacks occurred, which were carried out by the Brussels ISIL terror cell. Consequently, the terror alert level in the Brussels metropolitan area was raised to its highest level, and the Belgian government imposed a security lockdown on Brussels, leaving the streets empty during six days.
3/9 -
Place de la Reine (les poteaux)
2016/2022
Series of nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. The images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency. During my residency, the November 2015 Paris attacks occurred, which were carried out by the Brussels ISIL terror cell. Consequently, the terror alert level in the Brussels metropolitan area was raised to its highest level, and the Belgian government imposed a security lockdown on Brussels, leaving the streets empty during six days.
4/9 -
Place de la Reine (les poteaux)
2016/2022
Series of nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. The images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency. During my residency, the November 2015 Paris attacks occurred, which were carried out by the Brussels ISIL terror cell. Consequently, the terror alert level in the Brussels metropolitan area was raised to its highest level, and the Belgian government imposed a security lockdown on Brussels, leaving the streets empty during six days.
5/9 -
Place de la Reine (les poteaux)
2016/2022
Series of nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. The images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency. During my residency, the November 2015 Paris attacks occurred, which were carried out by the Brussels ISIL terror cell. Consequently, the terror alert level in the Brussels metropolitan area was raised to its highest level, and the Belgian government imposed a security lockdown on Brussels, leaving the streets empty during six days.
6/9 -
Place de la Reine (les poteaux)
2016/2022
Series of nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. The images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency. During my residency, the November 2015 Paris attacks occurred, which were carried out by the Brussels ISIL terror cell. Consequently, the terror alert level in the Brussels metropolitan area was raised to its highest level, and the Belgian government imposed a security lockdown on Brussels, leaving the streets empty during six days.
7/9 -
Place de la Reine (les poteaux)
2016/2022
Series of nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. The images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency. During my residency, the November 2015 Paris attacks occurred, which were carried out by the Brussels ISIL terror cell. Consequently, the terror alert level in the Brussels metropolitan area was raised to its highest level, and the Belgian government imposed a security lockdown on Brussels, leaving the streets empty during six days.
8/9 -
Place de la Reine (les poteaux)
2016/2022
Series of nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. The images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency. During my residency, the November 2015 Paris attacks occurred, which were carried out by the Brussels ISIL terror cell. Consequently, the terror alert level in the Brussels metropolitan area was raised to its highest level, and the Belgian government imposed a security lockdown on Brussels, leaving the streets empty during six days.
9/9
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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
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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