![]() ︎Scholarship, Memory Work, Bundesstiftung zur Aufarbeitung der SED-Diktatur, Berlin, Germany ︎Residency, Künstlerhaus Bethanien, Berlin, Germany ︎ Artist Support Grant, NC Arts Council, Raleigh, NC, USA ︎ Grant, Puffin Foundation, Teaneck, NJ, USA ︎ Award, Urbanautica Institute Awards 2021 ︎ Faculty Grant, NYU Tisch School of the Arts, New York, NY, USA ︎ White Columns Artist Registry, New York, NY, USA ︎ Residency, KUNSTRAUM, Brooklyn, NY, USA Through my projects, which are preceded by intensive research and span several years in their execution, I would like to contribute to a dialogue that is interdisciplinary and transcultural and make postcolonial historiography visible. Accordingly, I am interested in themes that reach beyond the field of art. and Germany in projects that address slavery, the Holocaust, and World War II, among other topics. My marriage to an African American man has sensitized me to explore our relationship and the history of our families in the U.S. Having lived in many different places and environments, from rural to suburban to urban, in Germany, England, and the United States, my projects are international yet site-specific. I draw inspiration from the places where I live. I want like to highlight two series of works, Slave Dwellings (2014-2022) and A Small Study of Concentration Camp Architecture (2015-2022). The question of the extent to which architecture is used to stabilize political systems and visualize social hierarchy is the subject of my research. I examine urban and natural landscapes from a socio-political perspective, which, deriving from my training as a spatial planner and visual sociologist, deals with architecture in a specific way. ![]() Through conversations and interviews with contemporary witnesses, residents along the Wall path, and those affected, I uncover wounds and document the history of reunification. Architecture and nature symptomatically refer to the psychological dimension of the German division. With my camera, I document fractures that open up in urban architecture and observe how nature has reclaimed space and thus seems to have obliterated traces. In my most recent project, The Absence and Presence of the Wall (2021-), I set out to find clues to the former German division along the 160 km long Berlin Wall Trail. The consequences of man-made climate change are visualized this way.Įven though most of my photographs do not show people directly, they talk about the traces left behind by people using or passing through these spaces. The variety of impacts created by global warming accelerates forest dieback worldwide, which is not only brought into the picture in terms of motifs but is also drastically visible on the material level. In addition, I processed the photographs with different methods: some prints were exposed to intense heat, and others were solarized, or etched with a laser cutter, distorting them beyond recognition. ![]() Using a large format camera, I visited forests in the two US states of North Carolina and Massachusetts. For example, I might play with the exposure time or various aspects of development and postproduction.Įxemplary for this process is the photo series Forests in the Anthropocene (since 2019). Some of my photographic creation processes involve experimentation. My working method is characterized by primarily working with an analog camera, although I also use a digital camera for some projects. ![]()
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