Galerie Richard is pleased to present the fourth solo exhibition of Olaf Rauh, entitled "Multiscan" from November 24, 2012 to January 12, 2013, in Paris. Olaf Rauh, born in Leipzig in 1968, has quickly distinguished himself from the German photographers of the previous generation through the defiant use of photography, not as an objective medium, but rather as a method to express an imaginary world within a real environment. In the new series "Multiscan," we are made witness to urban landscapes, habitats or community plazas which shine with their absence of inhabitants and pedestrians. Through specific numerical processes, Olaf Rauh introduces polychrome masses, often in biomorphic shapes, as the essence of apparent life. Other masses resembling smoke place the viewers in a dream state. He transforms the space together with its perception. Effectively, the artist abolishes the boundary between reality and the imaginary, and plays on this correspondence by using mirror effects.
Nevertheless, Olaf Rauh's photography is rooted in reality with no evidence of distorted proportions. The artist demonstrates accurate framing of vertical and horizontal lines, softened by sumptuous curves. Alternatively, the treatment of light and color alludes to photorealism as in the manner of John Baeder, with an infinite palette of vivid and sometimes sour tones. The artist performs multiple interventions, he scans and rescans just as a painter would add layer upon layer. A particular attention is focused on the decomposition of the spectrum of light, providing a force of contention with the architectural dominance within the contextual environment. At times reduced to a subtle reflection, cut sharp, or buried in a substrate, nature attempts to interfere and fights to exist.
Olaf Rauh in his previous series, has accustomed us to speed and traffic, the almost noisy competition of today's world. However in his current photography on exhibit, the element of silence is nothing like a state of oblivion. By contrasting places of passage and activity with paradoxical "emptiness", does the photographer present a metaphor for time? In the series 'Multiscan', Olaf Rauh presents the sublimation of the common area.