Nothing is enhanced, everything is real and the examiner takes his pictures.

Rules, timing, results.

What in the beginning are only single exposures is developed into a newly ordered unit; a new piece is formed through realignment. Repetition of the same image creates a seemingly endless space; a graphic pattern which is only restricted by the finitude of the picture. Just like a mathematical sequence, which is subject to the principle of recurrence, the collages follow certain laws of logic.

A documented process.

From close up and far away different pictorial planes become visible which can be experienced chronological, selective or as a whole. The observer decides how detailed he wants to experience the work, how closely he wants to analyze the picture.

The work reminds of the Chronophotography of Eadweard Muybridge from the 18th century. In his pictures he examined motion sequences, one of the most known being the motions of a galloping horse. While Muybridge displays several close-ups taken over a very short amount of time; here subjective ordering parameters are being experimented with. Time plays a supporting role;
it is an overarching principle, a meta-level which takes place within the action.
The work focuses on natural, mechanical, chronological and visual changes as for example the use of a chairlift, the tides, people waiting for an underground train, the functionality of a Rubriks cube.

The artifact itself is mediocre, important is the realignment and the connection of the individual pictures.

A documentation of perception.