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They are large pictures. Their subject is always the same: the forest. And: the scraps, traces, residues of people, things apparently left behind, lost, their past function remaining at times unclear (such as the blue ribbon spanned between birch trees). These subjects are arranged within the pictures at a scale that matches the scale outside their frame, thus suggesting a shared presence; the shared presence of the objects within the frame and of those beyond. Thus, the viewer is integrated into the space of the image, even defined as a participant within the pictures. Or are the subjects rather designed as being part of the viewer’s world, where they are included and determined? In any case, this method probably supports the intended and distinguishable »immersive« quality of the pictures, but I believe that the homogeneity of the appearances there and here, an equivalence which provokes partaking, is not engaged in contemplation, but in active correspondence between the inside and outside of the pictures. I look at the forest at eye level, and the forest gazes back at me. But taking part in what? That which is there to see at first appears surprisingly clear.
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excerpt of Wandbilder und Bildwälder" by Marc Ries, 2009 |