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. Gefeller continued to study the tension between nature and urbanity, reality and fiction as well as order and chaos within his following two bodies of work, Japan series (2010) and Blank (2015). The Other Side of Light (2017-2020), his most recent series, focuses on artificial-looking structures and patterns in nature. Gefeller decontextualises these forms, creating pictures that could be illustrations for modern phenomena.
Born out of a commission for a video installation in the new headquarters of an international bank in Düsseldorf, Gefeller has produced a new mesmerising film which is in fact his first video project, of which we see here a 5-second extract.
1-minute extract from a 11:11 film-loop
4K-display, 49 inches (61 x 109 cm)
Edition of 5
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