I always start my work in a state of curiosity. I want to find out how the seen scenery would appear recorded. In none of my attempts, the difference between what I saw and what was recorded, was as huge as here.
The basic idea of this work is to photograph people in such a way that it is not about photographed individuals, their gender or appearance, but about anatomical studies in a fictional space. I take pictures under water because its density changes the movements and postures of my protagonists so that they look sculptural. The very limited distant view under water closes the background visually and makes the scenes appear as if on a stage. In addition, the density of the water reduces the photographic sharpness and detail that I do not want here. I want to create a sketchy, painterly effect. I change and overdraw colors and contrasts in post-production. The water appears more viscous and the processes slow down, which should give the images the dreamlike, surreal effect I want. My models do not know that they are being photographed. I do not influence the processes and constellations. Coincidence is my director – I am the cameraman. In the recording process, I select the motif, the time of the recording and the image details.
I started this work in summer 2019 in a seaside resort in Italy. I was sure that I could perfect and round off this series in 2020 based on the experience gained. The changed current situation due to Corona does not make a new trip to the sea likely. Anyway, it would be interesting to see how and whether the distance rules change the constellations of my bathing protagonists. At the same time, the corona crisis makes me regard this series of photos completely differently than originally intended. I now see an ease of being, a naive lightheartedness on the edge of the abyss.