21.09. – 25.10.2019
Ingar Krauss works in pictorial cycles. His genres are the classics of painting: portrait, still life and landscape.
The photographer gets the closest to painting in his still lifes. Natural light is captured in a stage-like box and thus becomes a subtle actor in the silent drama. The prints are finished by hand with a glaze of oil paint. Not only aesthetic, but also metaphoric imagery is important for him and reflects the ideas of 'photography as a second nature' from the beginnings of this then new art form. Authenticity and originality play, both in content and technically, a fundamental role in the pictures of the autodidact Krauss. Using analogue and mostly black and white technique, and thanks to his exacting powers of observation, Krauss creates photographs which are simultaneously intuitive and empathic and express the intrinsic nature of his actors.
What makes Krauss’ portraits so impressive, is the immediacy and urgency of time. The pictured models stand as if in a still life – tranquil and static. Precise reduction to minimal attributes and gestures draw the attention to the body and a gaze which contradicts the calm pose.
His landscapes are almost cursory observations of human intervention in nature and draw on the American New Topographics of the 1970s. As Ulf Erdmann Ziegler writes, ''he fulfills everything that people wanted in a picture in those days, overturning an observation into a 'higher' order of some kind; the monumentalization of the everyday, not by resorting to monumentalizing genres, but by the captivating composition of the image.''
The Lichtungen exhibition pursues the development and recurrence of the theme 'nature' in Krauss' work – from the early portraits to the still lifes and on to the series 'Huts Hedges Heaps' which is also the 2019 publication of the same name from Hartmann Books (ISBN 978-3-96070-038-8, 38 euros).