In his current series Andreas Gefeller focuses his attention to organic structures. Similar to his previous work Blank Gefeller’s youngest photographs bear a perceptible resemblance to drawings or watercolours and oscillate between documentation and construction. Photography’s objectivity and its claim to depict reality are poetically and subtly undermined by Andreas Gefeller.
Excessively overexposed large-sized photographs of plants and water reveal patterns that become a metaphorical view on technical connections, more like a visualisation of computer processes than a document of nature.
The normal purpose of artificial light to make things visible is manipulated to achieve the opposite effect. Instead of light, the darkness reveals its secret: What existed before is fading away. Only the unlit and darkest areas could resist the long exposure, remaining as fragments to provide indications of the erased reality. Merely preserved, silhouette-like, totally white—just blank—negative.
The contour-like effect awakens the need for reconstruction and completion of the blank spaces. In the truest sense of the word the photographs leave space for interpretations. Gefeller's specific photographic approach to the world is a philosophical, analytical, intrinsic desire for deceleration.