Florence Iff

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About

Florence Iff was born in Switzerland where she is currently living. She spent four years in New York City where she absolved the General Studies fulltime program of ICP. She also has been educated as an artist as well as a teacher of fine arts.
She was awarded the Sony World Photography Award (WPO) Best Photographer of the Year category Landscape as well as second place winner category Fine Art Landscape at IPA (International Photography Awards) in 2011 and First Place in the Nature Category in PWP’s International Women’s Juried Exhibition& Honorable Mention in PWP’s 36th Anniversary call for entry 2012.
Her work has been shown and published in Zurich (Swiss Photo Award, Photo12), Arles and Penang (Galerie Huit), Stuttgart (Fotosommer Stuttgart), Los Angeles (LACDA), New York (Artists Files, Chelsea Art Building, .NO Gallery), Portland, London (WPO, Renaissance), Shanghai, Sao Paolo (WPO), Fort Collins CO (c4fap) and many other places.


Works

MIMESIS. The central theme of my long-term project is the concept of landscape and its representation. I’m interested how the duplication of landscape as aestheticised nature in the real world and the depiction of nature in art photography intertwine. Nature is increasingly being laid out in an artificial manner. Its domestication encompasses both exterior and inner space as concepts on aesthetics. Consequently new images of nature are internalized. With this interior imagery we again create landscapes within which we physically and mentally range. Spaces of artificial environment, zones of attraction and splinter development are becoming increasingly familiar and merge constantly with the remaining rural and suburban landscape. (In Switzerland e.g. uncontrolled development has been recognized as an increasing problem regarding ecological, socio-cultural and political matters.) But dealing with the subject of interior and exterior images on nature with the means of photography has not only a merely clarifying effect. There remains an impression of aesthetification and deception. A pictorial universe is being generated opening up interspaces.

MIMESIS. The central theme of my long-term project is the concept of landscape and its representation. I’m interested how the duplication of landscape as aestheticised nature in the real world and the depiction of nature in art photography intertwine. Nature is increasingly being laid out in an artificial manner. Its domestication encompasses both exterior and inner space as concepts on aesthetics. Consequently new images of nature are internalized. With this interior imagery we again create landscapes within which we physically and mentally range. Spaces of artificial environment, zones of attraction and splinter development are becoming increasingly familiar and merge constantly with the remaining rural and suburban landscape. (In Switzerland e.g. uncontrolled development has been recognized as an increasing problem regarding ecological, socio-cultural and political matters.) But dealing with the subject of interior and exterior images on nature with the means of photography has not only a merely clarifying effect. There remains an impression of aesthetification and deception. A pictorial universe is being generated opening up interspaces.

MIMESIS. The central theme of my long-term project is the concept of landscape and its representation. I’m interested how the duplication of landscape as aestheticised nature in the real world and the depiction of nature in art photography intertwine. Nature is increasingly being laid out in an artificial manner. Its domestication encompasses both exterior and inner space as concepts on aesthetics. Consequently new images of nature are internalized. With this interior imagery we again create landscapes within which we physically and mentally range. Spaces of artificial environment, zones of attraction and splinter development are becoming increasingly familiar and merge constantly with the remaining rural and suburban landscape. (In Switzerland e.g. uncontrolled development has been recognized as an increasing problem regarding ecological, socio-cultural and political matters.) But dealing with the subject of interior and exterior images on nature with the means of photography has not only a merely clarifying effect. There remains an impression of aesthetification and deception. A pictorial universe is being generated opening up interspaces.

MIMESIS. The central theme of my long-term project is the concept of landscape and its representation. I’m interested how the duplication of landscape as aestheticised nature in the real world and the depiction of nature in art photography intertwine. Nature is increasingly being laid out in an artificial manner. Its domestication encompasses both exterior and inner space as concepts on aesthetics. Consequently new images of nature are internalized. With this interior imagery we again create landscapes within which we physically and mentally range. Spaces of artificial environment, zones of attraction and splinter development are becoming increasingly familiar and merge constantly with the remaining rural and suburban landscape. (In Switzerland e.g. uncontrolled development has been recognized as an increasing problem regarding ecological, socio-cultural and political matters.) But dealing with the subject of interior and exterior images on nature with the means of photography has not only a merely clarifying effect. There remains an impression of aesthetification and deception. A pictorial universe is being generated opening up interspaces.

MIMESIS. The central theme of my long-term project is the concept of landscape and its representation. I’m interested how the duplication of landscape as aestheticised nature in the real world and the depiction of nature in art photography intertwine. Nature is increasingly being laid out in an artificial manner. Its domestication encompasses both exterior and inner space as concepts on aesthetics. Consequently new images of nature are internalized. With this interior imagery we again create landscapes within which we physically and mentally range. Spaces of artificial environment, zones of attraction and splinter development are becoming increasingly familiar and merge constantly with the remaining rural and suburban landscape. (In Switzerland e.g. uncontrolled development has been recognized as an increasing problem regarding ecological, socio-cultural and political matters.) But dealing with the subject of interior and exterior images on nature with the means of photography has not only a merely clarifying effect. There remains an impression of aesthetification and deception. A pictorial universe is being generated opening up interspaces.

POST ARCADIA. These pictures reflect an aspect of my long-term project on the subject of landscape. Landscape is in its origin a concept, which roots in the beginning of industrialization and renaissance painting. Seen as a concept, landscape therefore represents an image of an idea. We declare what an ideal landscape looks like and depict it e.g. in a photographic reproduction. In everyday life simulations of landscape and nature in relation of educative, scientific, recreational-oriented or economical contexts are ubiquitous. They not only influence our notion of nature in its derivation but also enhance implicitness of a designed environment. The differentiation between image, copy, representation, simulation and finally simulacrum is increasingly more difficult. The pictures of the series Post Arcadia indicate in content and form a room representing the above mentioned phenomena. These are both implicit in the term of landscape and photography.

POST ARCADIA. These pictures reflect an aspect of my long-term project on the subject of landscape. Landscape is in its origin a concept, which roots in the beginning of industrialization and renaissance painting. Seen as a concept, landscape therefore represents an image of an idea. We declare what an ideal landscape looks like and depict it e.g. in a photographic reproduction. In everyday life simulations of landscape and nature in relation of educative, scientific, recreational-oriented or economical contexts are ubiquitous. They not only influence our notion of nature in its derivation but also enhance implicitness of a designed environment. The differentiation between image, copy, representation, simulation and finally simulacrum is increasingly more difficult. The pictures of the series Post Arcadia indicate in content and form a room representing the above mentioned phenomena. These are both implicit in the term of landscape and photography.

POST ARCADIA. These pictures reflect an aspect of my long-term project on the subject of landscape. Landscape is in its origin a concept, which roots in the beginning of industrialization and renaissance painting. Seen as a concept, landscape therefore represents an image of an idea. We declare what an ideal landscape looks like and depict it e.g. in a photographic reproduction. In everyday life simulations of landscape and nature in relation of educative, scientific, recreational-oriented or economical contexts are ubiquitous. They not only influence our notion of nature in its derivation but also enhance implicitness of a designed environment. The differentiation between image, copy, representation, simulation and finally simulacrum is increasingly more difficult. The pictures of the series Post Arcadia indicate in content and form a room representing the above mentioned phenomena. These are both implicit in the term of landscape and photography.

POST ARCADIA. These pictures reflect an aspect of my long-term project on the subject of landscape. Landscape is in its origin a concept, which roots in the beginning of industrialization and renaissance painting. Seen as a concept, landscape therefore represents an image of an idea. We declare what an ideal landscape looks like and depict it e.g. in a photographic reproduction. In everyday life simulations of landscape and nature in relation of educative, scientific, recreational-oriented or economical contexts are ubiquitous. They not only influence our notion of nature in its derivation but also enhance implicitness of a designed environment. The differentiation between image, copy, representation, simulation and finally simulacrum is increasingly more difficult. The pictures of the series Post Arcadia indicate in content and form a room representing the above mentioned phenomena. These are both implicit in the term of landscape and photography.

POST ARCADIA. These pictures reflect an aspect of my long-term project on the subject of landscape. Landscape is in its origin a concept, which roots in the beginning of industrialization and renaissance painting. Seen as a concept, landscape therefore represents an image of an idea. We declare what an ideal landscape looks like and depict it e.g. in a photographic reproduction. In everyday life simulations of landscape and nature in relation of educative, scientific, recreational-oriented or economical contexts are ubiquitous. They not only influence our notion of nature in its derivation but also enhance implicitness of a designed environment. The differentiation between image, copy, representation, simulation and finally simulacrum is increasingly more difficult. The pictures of the series Post Arcadia indicate in content and form a room representing the above mentioned phenomena. These are both implicit in the term of landscape and photography.

POST ARCADIA. These pictures reflect an aspect of my long-term project on the subject of landscape. Landscape is in its origin a concept, which roots in the beginning of industrialization and renaissance painting. Seen as a concept, landscape therefore represents an image of an idea. We declare what an ideal landscape looks like and depict it e.g. in a photographic reproduction. In everyday life simulations of landscape and nature in relation of educative, scientific, recreational-oriented or economical contexts are ubiquitous. They not only influence our notion of nature in its derivation but also enhance implicitness of a designed environment. The differentiation between image, copy, representation, simulation and finally simulacrum is increasingly more difficult. The pictures of the series Post Arcadia indicate in content and form a room representing the above mentioned phenomena. These are both implicit in the term of landscape and photography.

POST ARCADIA. These pictures reflect an aspect of my long-term project on the subject of landscape. Landscape is in its origin a concept, which roots in the beginning of industrialization and renaissance painting. Seen as a concept, landscape therefore represents an image of an idea. We declare what an ideal landscape looks like and depict it e.g. in a photographic reproduction. In everyday life simulations of landscape and nature in relation of educative, scientific, recreational-oriented or economical contexts are ubiquitous. They not only influence our notion of nature in its derivation but also enhance implicitness of a designed environment. The differentiation between image, copy, representation, simulation and finally simulacrum is increasingly more difficult. The pictures of the series Post Arcadia indicate in content and form a room representing the above mentioned phenomena. These are both implicit in the term of landscape and photography.

POST ARCADIA. These pictures reflect an aspect of my long-term project on the subject of landscape. Landscape is in its origin a concept, which roots in the beginning of industrialization and renaissance painting. Seen as a concept, landscape therefore represents an image of an idea. We declare what an ideal landscape looks like and depict it e.g. in a photographic reproduction. In everyday life simulations of landscape and nature in relation of educative, scientific, recreational-oriented or economical contexts are ubiquitous. They not only influence our notion of nature in its derivation but also enhance implicitness of a designed environment. The differentiation between image, copy, representation, simulation and finally simulacrum is increasingly more difficult. The pictures of the series Post Arcadia indicate in content and form a room representing the above mentioned phenomena. These are both implicit in the term of landscape and photography.

POST ARCADIA. These pictures reflect an aspect of my long-term project on the subject of landscape. Landscape is in its origin a concept, which roots in the beginning of industrialization and renaissance painting. Seen as a concept, landscape therefore represents an image of an idea. We declare what an ideal landscape looks like and depict it e.g. in a photographic reproduction. In everyday life simulations of landscape and nature in relation of educative, scientific, recreational-oriented or economical contexts are ubiquitous. They not only influence our notion of nature in its derivation but also enhance implicitness of a designed environment. The differentiation between image, copy, representation, simulation and finally simulacrum is increasingly more difficult. The pictures of the series Post Arcadia indicate in content and form a room representing the above mentioned phenomena. These are both implicit in the term of landscape and photography.

Memoryscapes / Fragments of Reconstruction.I’m investigating the “memory of landscapes” and how memory itself operates. By merging my grandfather’s photographs of his youth and later family, with the matching, contemporary landscape from Internet sites offering various aerial views, I’m creating interspaces of memories. It explores how the specific landscape has been cultivated, shaped and transformed. I still roam this landscape, whether in real or virtual, and my memories of my grandfather are inevitably united with this landscape and vice versa. The past pervades the present as much as the present lies in the past. The distortion of the scenery, due to computational algorithms, corresponds to the mode memory works, since remembering the past is essentially a (re)construction of one’s personal history.

Memoryscapes / Fragments of Reconstruction . I’m investigating the “memory of landscapes” and how memory itself operates. By merging my grandfather’s photographs of his youth and later family, with the matching, contemporary landscape from Internet sites offering various aerial views, I’m creating interspaces of memories. It explores how the specific landscape has been cultivated, shaped and transformed. I still roam this landscape, whether in real or virtual, and my memories of my grandfather are inevitably united with this landscape and vice versa. The past pervades the present as much as the present lies in the past. The distortion of the scenery, due to computational algorithms, corresponds to the mode memory works, since remembering the past is essentially a (re)construction of one’s personal history.

Memoryscapes / Fragments of Reconstruction . I’m investigating the “memory of landscapes” and how memory itself operates. By merging my grandfather’s photographs of his youth and later family, with the matching, contemporary landscape from Internet sites offering various aerial views, I’m creating interspaces of memories. It explores how the specific landscape has been cultivated, shaped and transformed. I still roam this landscape, whether in real or virtual, and my memories of my grandfather are inevitably united with this landscape and vice versa. The past pervades the present as much as the present lies in the past. The distortion of the scenery, due to computational algorithms, corresponds to the mode memory works, since remembering the past is essentially a (re)construction of one’s personal history.

Memoryscapes / Fragments of Reconstruction . I’m investigating the “memory of landscapes” and how memory itself operates. By merging my grandfather’s photographs of his youth and later family, with the matching, contemporary landscape from Internet sites offering various aerial views, I’m creating interspaces of memories. It explores how the specific landscape has been cultivated, shaped and transformed. I still roam this landscape, whether in real or virtual, and my memories of my grandfather are inevitably united with this landscape and vice versa. The past pervades the present as much as the present lies in the past. The distortion of the scenery, due to computational algorithms, corresponds to the mode memory works, since remembering the past is essentially a (re)construction of one’s personal history.

Memoryscapes / Fragments of Reconstruction . I’m investigating the “memory of landscapes” and how memory itself operates. By merging my grandfather’s photographs of his youth and later family, with the matching, contemporary landscape from Internet sites offering various aerial views, I’m creating interspaces of memories. It explores how the specific landscape has been cultivated, shaped and transformed. I still roam this landscape, whether in real or virtual, and my memories of my grandfather are inevitably united with this landscape and vice versa. The past pervades the present as much as the present lies in the past. The distortion of the scenery, due to computational algorithms, corresponds to the mode memory works, since remembering the past is essentially a (re)construction of one’s personal history.

Memoryscapes / Fragments of Reconstruction . I’m investigating the “memory of landscapes” and how memory itself operates. By merging my grandfather’s photographs of his youth and later family, with the matching, contemporary landscape from Internet sites offering various aerial views, I’m creating interspaces of memories. It explores how the specific landscape has been cultivated, shaped and transformed. I still roam this landscape, whether in real or virtual, and my memories of my grandfather are inevitably united with this landscape and vice versa. The past pervades the present as much as the present lies in the past. The distortion of the scenery, due to computational algorithms, corresponds to the mode memory works, since remembering the past is essentially a (re)construction of one’s personal history.

Memoryscapes / Fragments of Reconstruction . I’m investigating the “memory of landscapes” and how memory itself operates. By merging my grandfather’s photographs of his youth and later family, with the matching, contemporary landscape from Internet sites offering various aerial views, I’m creating interspaces of memories. It explores how the specific landscape has been cultivated, shaped and transformed. I still roam this landscape, whether in real or virtual, and my memories of my grandfather are inevitably united with this landscape and vice versa. The past pervades the present as much as the present lies in the past. The distortion of the scenery, due to computational algorithms, corresponds to the mode memory works, since remembering the past is essentially a (re)construction of one’s personal history.

Insight-Out The main subject is the fragmentation of vision: The perception and mapping of spatiality is questioned. The look searches his way from inside to the outside and the other way round, is reflected, shifted, it is thrown back over and over again, finds neither exit nor access, gets stuck in the surface of the picture. The space is not where it should be, because there is neither behind nor beyond the surface depth or reality. It is generated as a subjective dimension in the head of the viewer. The pictures are no effigies, they show aspects and limits of legibility. They avoid an unequivocal meaning or placement and deconstruct thus a contrived reality, ones own view of the world. The segmented world gets inescapably visible by the composition and the cropping. They uncover the surreal in reality. The pictures have originated without technical manipulation. The series summarizes works from a longer process in which I deal with questions of visual perception in reference to reflection.

Insight-Out The main subject is the fragmentation of vision: The perception and mapping of spatiality is questioned. The look searches his way from inside to the outside and the other way round, is reflected, shifted, it is thrown back over and over again, finds neither exit nor access, gets stuck in the surface of the picture. The space is not where it should be, because there is neither behind nor beyond the surface depth or reality. It is generated as a subjective dimension in the head of the viewer. The pictures are no effigies, they show aspects and limits of legibility. They avoid an unequivocal meaning or placement and deconstruct thus a contrived reality, ones own view of the world. The segmented world gets inescapably visible by the composition and the cropping. They uncover the surreal in reality. The pictures have originated without technical manipulation. The series summarizes works from a longer process in which I deal with questions of visual perception in reference to reflection.

Insight-Out The main subject is the fragmentation of vision: The perception and mapping of spatiality is questioned. The look searches his way from inside to the outside and the other way round, is reflected, shifted, it is thrown back over and over again, finds neither exit nor access, gets stuck in the surface of the picture. The space is not where it should be, because there is neither behind nor beyond the surface depth or reality. It is generated as a subjective dimension in the head of the viewer. The pictures are no effigies, they show aspects and limits of legibility. They avoid an unequivocal meaning or placement and deconstruct thus a contrived reality, ones own view of the world. The segmented world gets inescapably visible by the composition and the cropping. They uncover the surreal in reality. The pictures have originated without technical manipulation. The series summarizes works from a longer process in which I deal with questions of visual perception in reference to reflection.

Insight-Out The main subject is the fragmentation of vision: The perception and mapping of spatiality is questioned. The look searches his way from inside to the outside and the other way round, is reflected, shifted, it is thrown back over and over again, finds neither exit nor access, gets stuck in the surface of the picture. The space is not where it should be, because there is neither behind nor beyond the surface depth or reality. It is generated as a subjective dimension in the head of the viewer. The pictures are no effigies, they show aspects and limits of legibility. They avoid an unequivocal meaning or placement and deconstruct thus a contrived reality, ones own view of the world. The segmented world gets inescapably visible by the composition and the cropping. They uncover the surreal in reality. The pictures have originated without technical manipulation. The series summarizes works from a longer process in which I deal with questions of visual perception in reference to reflection.

Insight-Out The main subject is the fragmentation of vision: The perception and mapping of spatiality is questioned. The look searches his way from inside to the outside and the other way round, is reflected, shifted, it is thrown back over and over again, finds neither exit nor access, gets stuck in the surface of the picture. The space is not where it should be, because there is neither behind nor beyond the surface depth or reality. It is generated as a subjective dimension in the head of the viewer. The pictures are no effigies, they show aspects and limits of legibility. They avoid an unequivocal meaning or placement and deconstruct thus a contrived reality, ones own view of the world. The segmented world gets inescapably visible by the composition and the cropping. They uncover the surreal in reality. The pictures have originated without technical manipulation. The series summarizes works from a longer process in which I deal with questions of visual perception in reference to reflection.

Insight-Out The main subject is the fragmentation of vision: The perception and mapping of spatiality is questioned. The look searches his way from inside to the outside and the other way round, is reflected, shifted, it is thrown back over and over again, finds neither exit nor access, gets stuck in the surface of the picture. The space is not where it should be, because there is neither behind nor beyond the surface depth or reality. It is generated as a subjective dimension in the head of the viewer. The pictures are no effigies, they show aspects and limits of legibility. They avoid an unequivocal meaning or placement and deconstruct thus a contrived reality, ones own view of the world. The segmented world gets inescapably visible by the composition and the cropping. They uncover the surreal in reality. The pictures have originated without technical manipulation. The series summarizes works from a longer process in which I deal with questions of visual perception in reference to reflection.

Insight-Out The main subject is the fragmentation of vision: The perception and mapping of spatiality is questioned. The look searches his way from inside to the outside and the other way round, is reflected, shifted, it is thrown back over and over again, finds neither exit nor access, gets stuck in the surface of the picture. The space is not where it should be, because there is neither behind nor beyond the surface depth or reality. It is generated as a subjective dimension in the head of the viewer. The pictures are no effigies, they show aspects and limits of legibility. They avoid an unequivocal meaning or placement and deconstruct thus a contrived reality, ones own view of the world. The segmented world gets inescapably visible by the composition and the cropping. They uncover the surreal in reality. The pictures have originated without technical manipulation. The series summarizes works from a longer process in which I deal with questions of visual perception in reference to reflection.

67P/ALICE:This work is an investigation on light, time and space on the one hand within the subject of photography itself and on the other hand on the example of the space mission of the orbiter „Rosetta“. I have been collecting old deteriorating, fading or double-exposed (glass) negatives illustrating the subject of ephemerality and impermanence. I also included pictures of the inward parts of my body, demonstrating its fragility and origin from the universe. Images from NASA and ESA depict the journey to the comet 67P, which has been the designation of the mission „Rosetta“ on the search for the primeval soup and the proof of life-molecules within the universe. The whole mission started 1992 and lasted till 2014, when the lander finally landed on 67P to gather information. This high-tech mission was developed to answer questions about life on earth. Playing with these juxtapositions I created a visual journey approaching universal questions on life, transiency, time, what remains from our existence and which imprints we leave behind as human beings. The pictures have been named after the twelve instruments installed on

67P/OSIRIS:This work is an investigation on light, time and space on the one hand within the subject of photography itself and on the other hand on the example of the space mission of the orbiter „Rosetta“. I have been collecting old deteriorating, fading or double-exposed (glass) negatives illustrating the subject of ephemerality and impermanence. I also included pictures of the inward parts of my body, demonstrating its fragility and origin from the universe. Images from NASA and ESA depict the journey to the comet 67P, which has been the designation of the mission „Rosetta“ on the search for the primeval soup and the proof of life-molecules within the universe. The whole mission started 1992 and lasted till 2014, when the lander finally landed on 67P to gather information. This high-tech mission was developed to answer questions about life on earth. Playing with these juxtapositions I created a visual journey approaching universal questions on life, transiency, time, what remains from our existence and which imprints we leave behind as human beings. The pictures have been named after the twelve instruments installed on

67P/RPC:This work is an investigation on light, time and space on the one hand within the subject of photography itself and on the other hand on the example of the space mission of the orbiter „Rosetta“. I have been collecting old deteriorating, fading or double-exposed (glass) negatives illustrating the subject of ephemerality and impermanence. I also included pictures of the inward parts of my body, demonstrating its fragility and origin from the universe. Images from NASA and ESA depict the journey to the comet 67P, which has been the designation of the mission „Rosetta“ on the search for the primeval soup and the proof of life-molecules within the universe. The whole mission started 1992 and lasted till 2014, when the lander finally landed on 67P to gather information. This high-tech mission was developed to answer questions about life on earth. Playing with these juxtapositions I created a visual journey approaching universal questions on life, transiency, time, what remains from our existence and which imprints we leave behind as human beings. The pictures have been named after the twelve instruments installed on

67P/CONSERT:This work is an investigation on light, time and space on the one hand within the subject of photography itself and on the other hand on the example of the space mission of the orbiter „Rosetta“. I have been collecting old deteriorating, fading or double-exposed (glass) negatives illustrating the subject of ephemerality and impermanence. I also included pictures of the inward parts of my body, demonstrating its fragility and origin from the universe. Images from NASA and ESA depict the journey to the comet 67P, which has been the designation of the mission „Rosetta“ on the search for the primeval soup and the proof of life-molecules within the universe. The whole mission started 1992 and lasted till 2014, when the lander finally landed on 67P to gather information. This high-tech mission was developed to answer questions about life on earth. Playing with these juxtapositions I created a visual journey approaching universal questions on life, transiency, time, what remains from our existence and which imprints we leave behind as human beings. The pictures have been named after the twelve instruments installed on

67P/GIADA:This work is an investigation on light, time and space on the one hand within the subject of photography itself and on the other hand on the example of the space mission of the orbiter „Rosetta“. I have been collecting old deteriorating, fading or double-exposed (glass) negatives illustrating the subject of ephemerality and impermanence. I also included pictures of the inward parts of my body, demonstrating its fragility and origin from the universe. Images from NASA and ESA depict the journey to the comet 67P, which has been the designation of the mission „Rosetta“ on the search for the primeval soup and the proof of life-molecules within the universe. The whole mission started 1992 and lasted till 2014, when the lander finally landed on 67P to gather information. This high-tech mission was developed to answer questions about life on earth. Playing with these juxtapositions I created a visual journey approaching universal questions on life, transiency, time, what remains from our existence and which imprints we leave behind as human beings. The pictures have been named after the twelve instruments installed on

67P/RSI:This work is an investigation on light, time and space on the one hand within the subject of photography itself and on the other hand on the example of the space mission of the orbiter „Rosetta“. I have been collecting old deteriorating, fading or double-exposed (glass) negatives illustrating the subject of ephemerality and impermanence. I also included pictures of the inward parts of my body, demonstrating its fragility and origin from the universe. Images from NASA and ESA depict the journey to the comet 67P, which has been the designation of the mission „Rosetta“ on the search for the primeval soup and the proof of life-molecules within the universe. The whole mission started 1992 and lasted till 2014, when the lander finally landed on 67P to gather information. This high-tech mission was developed to answer questions about life on earth. Playing with these juxtapositions I created a visual journey approaching universal questions on life, transiency, time, what remains from our existence and which imprints we leave behind as human beings. The pictures have been named after the twelve instruments installed on

67P/MIDAS:This work is an investigation on light, time and space on the one hand within the subject of photography itself and on the other hand on the example of the space mission of the orbiter „Rosetta“. I have been collecting old deteriorating, fading or double-exposed (glass) negatives illustrating the subject of ephemerality and impermanence. I also included pictures of the inward parts of my body, demonstrating its fragility and origin from the universe. Images from NASA and ESA depict the journey to the comet 67P, which has been the designation of the mission „Rosetta“ on the search for the primeval soup and the proof of life-molecules within the universe. The whole mission started 1992 and lasted till 2014, when the lander finally landed on 67P to gather information. This high-tech mission was developed to answer questions about life on earth. Playing with these juxtapositions I created a visual journey approaching universal questions on life, transiency, time, what remains from our existence and which imprints we leave behind as human beings. The pictures have been named after the twelve instruments installed on

67P/ROSINA:This work is an investigation on light, time and space on the one hand within the subject of photography itself and on the other hand on the example of the space mission of the orbiter „Rosetta“. I have been collecting old deteriorating, fading or double-exposed (glass) negatives illustrating the subject of ephemerality and impermanence. I also included pictures of the inward parts of my body, demonstrating its fragility and origin from the universe. Images from NASA and ESA depict the journey to the comet 67P, which has been the designation of the mission „Rosetta“ on the search for the primeval soup and the proof of life-molecules within the universe. The whole mission started 1992 and lasted till 2014, when the lander finally landed on 67P to gather information. This high-tech mission was developed to answer questions about life on earth. Playing with these juxtapositions I created a visual journey approaching universal questions on life, transiency, time, what remains from our existence and which imprints we leave behind as human beings. The pictures have been named after the twelve instruments installed on