grey would be the color
Project info

I think nothing is what it seems and that's why I want to look behind the surface. It's what I do as psychologist but also as a photo artist.
I can't accept the desire for easy answers people often have. I want people to ask themselves questions – about my photography but also about themselves. People often fear the dark – they fear their unconscious: all the repressed and unacceptable thoughts and feelings.
I want to invite the oberserver of my work to dive into the dark waters of his/her soul. After recognizing your insecurities and your blindness you will be able to illuminate things.
In my photography I don't want to give answers; I want people to listen to their inner voice.
My work is about scrutinizing the idea of darkness, tristesse und melancholy. There is a a lot of magic and beauty in it.

Because of moving back close to my home town, I began asking myself questions about it.
It was the time when my home federal state celebrated the Bauhaus anniversary and I recoginzed that a lot of people imagine Bauhaus architecture as grey blocks because of black and white photography, but the idea of a black-and-white Bauhaus avant-garde turned out to be totally wrong. Instead of a reduction to reverse colors, the architecture of the houses revealed multiple colors.That leads me to the question how I think about the past because of old black and white photographies. I think about greyness and that it is also a false conclusion of people when they imagine everyday life in the socialist East Germany was about grey concrete and queues. It leads me to the conclusion: There are colors behind the grey.
That's the reason why I wanted to print black and white negatives on color paper. I wanted colored details in gray tones.
That means for my working process in the color darkroom: I have to find out the right exposure and filtration for grey tones - and then I split it in two or three exposures, which have different light colours and make different colors on paper, but the result of their addition is grey. Between the exposures I work with different types of tampletes, stencils or other things for covering up.

It's a process full of concentration and preparation, but also of accidents and coincidence because of working in total darkness and developing in open trays, not using a machine. I also use expired photo paper sometimes.
It feels good to give up control and to let myself be surprised by what comes out of the dark.
In terms of content I don't want to tell a concrete story of the past in a new colored way. Like I said before, I just want to show a new perspective on everyday life, daily grind or tristesse.