révélée - past participle perfect, feminine; Infinitive: révéler - unveiled, revealed, uncovered
– in analog photography, the French term révélée is also used to describe the handmade print –
Update 2019: I am still in the process of slowly evaluating color and density in the darkroom. I choose to only show a small selection of the photographs online.
Driving for hours through French landscapes at night. Cold road trips into the Unknown.
I am still fascinated by barely existing light and its appearance through film and chemicals.
Somewhere, anywhere, nowhere. I stop. There I spend most of the night until just before sunrise, to get involved with the darkness and allow an image to create itself through time. Careful, conscious action is required, a risk always remains. After my return, I develop the film in uncertainty: could I capture enough light? Or was it all for ‚nothing‘? How much does the image in the end even matter at all, if something has been taking place either way?
I do not document. Nor do I stage.
In my deep interest in the dark, I can evolve only slowly, because the technical framework of photography is stretched by far. The camera does not see a single moment, because it simply is too dark. Only by perseverance, film by film, I can create a picture and develop technical references for a new and intimate approach to my photography. Révélée, in its chosen form, contains tangible references to origins and meanings that can not be established in the pronunciation and only be revealed in the written state: the femininity of the word, which points to myself and my position in my work, as well as the past tense, what has been established and is no longer vague - in comparison to an infinitive which only formulates the possibility and not actual reality.
Throughout the journey of révélée, plastic film is an important element, although I do choose to not make it visible in every image. On one hand, it reveals the fact that I was present in one place but conceals my physical dimension at the same time. I wrap myself in it, or cover myself, or leave it to itself. The artificial material, with its translucency and quality of reflection, abstracts the photographic exposure in nature, arousing sonic and visual attention in the dark exterior, yet
offering as well a certain kind of protection. Its movement vocabulary is complex; behaving unruly penetrating, harmonious or beyond any control at all.
Some Green Meadow
I gaze into the distance.