Due to the great successes the exhibition is prolonged from July 13th. 2013 to August 24th. 2013
WALD | Landscapes of Memory
are the deep memories we carry within us. They are the mythological images of our childhood, the ones from fairy tales, the Romantic paintings. They are the collective deep memories of the historic forest, remembered and stored in the cells and genes for centuries. Images we where born with, which accompany us through life until we die.
"Landscapes are culture before they are nature, constructs of the imagination that are projected onto woods and water and rock."* Landscapes do not exist per se. They are created by the artist; only through his perception and perspec-tive in combination of multitudes of elements like the weather, light, the trees, shrubs, grass, moss an image is created.
Two levels are being brought into accord in the pictures - the experience of nature and deep, remembered landscapes.
This project was determined by the questions how silence can be depicted in an image and how to approach the elusive, ephemeral realm. The woods and the twilight are the medium for this silence, for an open image that leaves space for the own associations and phantasies.
The photographs from the series WALD decelerate the beholder and give him peace. They create a connection with the inner space of silence. A silence that is always there, that everyone carries within himself; but which is usually clut-tered with the constantly challenging demands and impressions of everyday life.
* Simon Schama
In the Woods
Five letters, a word, just one syllable. It sounds strangely familiar, needing nei-ther addendum nor definition. Within it everything seems decided, everything explored. But once pronounced it echoes for quite some time. Not as a sound - as a memory. As if the word in itself needed a moment of pictorial reminiscence to become comprehensible.
The images that are being conjured up by this five-letter-word originate from childhood. They attest to old stories in which different rules were in effect. These stories were populated by animals and wondrously raging creatures and quick-ened a phantasy where a companion was crucial for survival. This phantasy also gave space for those fears for which the child had not yet found words. But the innocent mind also sensed that this realm of trees could also be a refuge, an imaginary protective shell. A mythical place where it couldn't be found and was allowed to be its own self: Free. Strangely enough, in that place one could be told without further ado of the menace from which the world of grown-ups tried to shelter the innocent soul in vain: Death.
This became clear later. Much later, when the perilous place had already cre-ated its own metaphors. It now served as a backdrop for different stories that still dealt with fears and desires and vague memories of childhood. Yet the word had once again become a five-letter-word that didn't need to be feared any-more. The realm of trees which it described was in the process of dying. Books and reports stated that it had been entwined with the identity of its own country for ages. The word, the realm, the child. Each one had lost its innocence. But what kept on existing for all those years was a familiar voice. "Go back there", it kept on quietly imploring the grown-up mind. "And this time stay there when it gets dark."
There is a book available for the exhibition.