-
colored flags (community garden policies)
ongoing project
2023
1/7 -
colored flags (community garden policies)
ongoing project
2023
2/7 -
colored flags (community garden policies)
ongoing project
2023
3/7 -
colored flags (community garden policies)
ongoing project
2023
4/7 -
colored flags (community garden policies)
ongoing project
2023
5/7 -
colored flags (community garden policies)
ongoing project
2023
6/7 -
colored flags (community garden policies)
ongoing project
2023
7/7
-
Great Experience
series of 6
2022
1/6 -
Great Experience
series of 6
2022
2/6 -
Great Experience
series of 6
2022
3/6 -
Great Experience
series of 6
2022
4/6 -
Great Experience
series of 6
2022
5/6 -
Great Experience
series of 6
2022
6/6
-
hier, hier
2022
still lifes combining plants, waste, kitchen utensils, stones and fruits gathered on the way to my studio
1/2 -
hier, hier
2022
still lifes combining plants, waste, kitchen utensils, stones and fruits gathered on the way to my studio
2/2
-
HOOD I Wiedikon, II Weissenbühl, II Schaerbeek
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
2016
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
This series comprises nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. These images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency.
1/9 -
Place de la Reine (les poteaux)
2016
This series comprises nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. These images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency.
2/9 -
Place de la Reine (les poteaux)
2016
This series comprises nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. These images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency.
3/9 -
Place de la Reine (les poteaux)
2016
This series comprises nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. These images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency.
4/9 -
Place de la Reine (les poteaux)
2016
This series comprises nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. These images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency.
5/9 -
Place de la Reine (les poteaux)
2016
This series comprises nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. These images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency.
6/9 -
Place de la Reine (les poteaux)
2016
This series comprises nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. These images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency.
7/9 -
Place de la Reine (les poteaux)
2016
This series comprises nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. These images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency.
8/9 -
Place de la Reine (les poteaux)
2016
This series comprises nine photographs capturing the car poles on Place de la Reine in Brussels as they undergo the cycle of being knocked down and rebuilt. These images were taken from the window of the „atelier swiss“ studio where I spent a six-month artist residency.
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