Dierk Maass

In my photography the light is the director of a dramaturgy of colours and shapes.

Light creates my attention. Yet in its boundless elongation, in the dazzling white of long term exposure, the diversity of the contours is vanishing. The graphical trace of reality becomes a fabric of light which all the more highlights clearly individual colours and textures.

In Bolivia, at 4600 m height, far from any civilisation and surrounded by volcanoes there is a damaged bus. The remains of its corroded lacquer stand out like a Fata Morgana from a landscape of deserted inhospitality. The scenery appears bizarre, grotesque, even surreal. It woke ominous fantasies what might have happened here.

Like Picasso I could say that I do not look for my motives but find them. My landscape and portrait photographs do not awake from formal composition considerations but from visual sensations. Coincidence and prevision emboss the motive finding processes of my photographical work. The unique formal esthetical tool of these pictures is the manipulation of the exposure time in front of the motive.

The common ground of all places which I capture with my photographs is the isolation. With the eye of the camera I try to capture the magic of the remotest regions of the world. Every motive is the result of a physical as well as a visual adventure. Every image conserves the magic of an expedition into the unknown colours and shapes varieties of our planet.

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