VIEW IN MY ROOM
AUCKLAND Photograph
Germany
Photography, Pinhole on Other
Size: 0.4 W x 0.4 H x 0.1 D in
About The Artwork
In her series "City Lights" Karen Stuke not only employs light as a scenic aid, but as a generative instance, producing autonomous image structures. The works rarely bring objects to mind and even their method of production retreats to the background. However, the dimension of movement is not hidden to the well-informed eye, forming a pattern of explanation and a constant within the visual game of the travelling photographer. Here she is the one in motion. She installs her camera in lofty rotating towers, which are often furnished with chic restaurants high above the cosmopolitan cities of the world, such as Berlin, New York or Kobe, Japan, where they lead a dizzy and vertiginous existence. With an unlimited view into the depths, the stationary lights of the large city flash by. The picture is constantly changing. But we are actually the ones that are changing and moving. The photo eye remains calm. It simply records at its own discretion, allowing a singular image to be created over space and time within its hollow cavity. The impression is no less true, good or beautiful than our own. Merely different. (Gottfried Jäger from the book: The Trilogy of time, or: I dont mind waiting!)
Details & Dimensions
Photography:Pinhole on Other
Original:One-of-a-kind Artwork
Size:0.4 W x 0.4 H x 0.1 D in
Frame:Not Framed
Ready to Hang:No
Shipping & Returns
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Germany
lives and works in Berlin, Germany. Karen Stukes photographs leave space for a lot of associations. First of all there is the light. Light allows us to perceive scenarios that take place in the dark. Photographs are light pictures. Light is the essence of photography, its actual medium. But for Stuke light is more than just a medium, it is the subject of photography as well. Then her photos are defined by space. They engage with spaces and are created within them. A third factor that characterises her pictures is the movement. This appears fleetingly, and is not registered in the single decisive moment of a photographic shot, but holistically and with temporal duration.Hours go by while the camera obscura gradually collects and saves the images of darkness. Only towards morning will its intimate view be terminated, as day breaks. What remains are slow, peaceful pictures on the border between closeness and distance, between day and dream. (Gottfried Jäger from the book: The Trilogy of time, or: I dont mind waiting!)
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