Using the camera as a tool of both truth and deception, Andreas Gefeller produces photographs of urban and manmade spaces that challenge the boundaries of everyday perception. His series have grown increasingly abstract. Among his earliest and most straightforward is “Halbwertszeiten (Half-life)” (1996). By 2000, he was bringing a surreal quality to his images by shooting from exaggerated bird’s- and worm’s-eye perspectives. For his “Supervisions” series (2002-2013), he transformed himself into what he calls a “scanner,” walking inch-by-inch across parking lots and golf courses, amassing hundreds of high-resolution photographs of the ground. Gefeller stitched these images together into a single, large-scale composite, providing a view of the ground beneath his feet so intensely detailed that it appears abstract. More than ever, Gefeller engages in the field of tension between nature and urbanity, reality and fiction as well as order and chaos with the following bodies of work, Japan series (2010) and Blank (2015).