I’m a working-class artist from Switzerland with a background in applied visual arts and a master’s degree in philosophy from the University of Vienna focussing on Aesthetics and Social Ontology.
The fact that I have found in photography a medium of artistic expression, which has accompanied me in one way or another for decades now, is somewhat surprising even to myself. Photography, unlike other visual arts, is less manually creative, which may seem to contradict my craft talents and years of working in the applied arts.
A look at my life's path might help explain this, as it zigzags incoherently between technical trainings and jobs, a degree in philosophy, and many years working on and off as a designer. The fact that I feel comfortable with the technical aspects of photography, that the observing and questioning nature of photography is close to my heart, and that I have found my artistic expression in playing with composition, in painting with light and shadow is therefore perhaps not so far-fetched after all.
The deeper reason, however, is to be found in the performative: For me, to photograph means to be able to dive into my inner world, to find a way to make emotions and intuitions tangible. Photography stops time and allows me look inside a thing, into the connections between the objects and us, the origin of expression. It links my intuition to the world, bypassing the dominant but tired analytical sense—almost a meditative state.
And this expression motivates and drives me, makes me forget the technical of photography and jumps from genre to genre, always looking for what I actually want to say.
The central object of my photographic work in recent years is everyday life. Objects, landscapes and situations that are so familiar to us that they strangely disappear in our hasty gaze over the familiar. In the shadow of the new and spectacular lives a world of strangeness and beauty in what in German is called "Alltag" or "The Everyday".
Watching the everyday I seek the deviation from it, in which fractures and dissonances become visible: Loneliness, transience and loss, but also resistance, hope and tenderness.
In the tension between inside and outside, photography finds for me an almost meditative state, because it is able to leapfrog the consciousness and connects intuition or soul with the world, challenging my own consciously interpreted persona, makes it a neutral observer, or in the most thrilling case even leaving it completely in the dark—asking questions.