My works arent pictures of something, but objects about something

Akzidenz investigates and plays with veracity by altering perception, by creating a new dimension where time and space fuse together generating a new reality through the reinterpretation of the physical. Less interested in the representational qualities of the photograph he focuses on the exploration of the fringes of each terrain. This attention stems from the will to not use photography as a traditional means of representation but to create a platform for discourse and thought; in order to achieve this dais he tries to invent his own visual language, using multi-exposures, superposition, and juxtaposition to interpret and redefine the manufactured experiences.


Purposefully choosing the 20th century medium of film enables him to see, and therefore place the present into perspective. The choice of black & white and the disremembered feel of grain translate into the signifiers that depict and foster the equivalence of life and shape. It is through the breaking and reassembling of the grid that the images become vessels to a foreign land where past and present seamlessly merge together proving the reality and fleetingness of time at once.





Monsters of a mechanical 20th century world


Their massiveness overbears the feebleness of man, generating a sensation of juxtaposition between what has been created and the mind behind the creation. Lines and patterns emerge from the ground altering the present scape, offering endless possibilities to the traveler; the real melds into the unreal achieving a precarious balance where the impossible is possible, where geometrical and physical laws are defied, where the representational qualities subside thus allowing for the dance between light and dark to thrive.


Even at a standstill the machine’s brutal power electrifies the air - the manmade contraptions resting along predetermined paths represented as an overlaying of rails that alter the destined and predestined. In overlapping images a distortion of reality is created, the image no longer is a direct representation of what the naked eye can see but transforms into a portrait of the subconscious. The experimental architecture forged through image overlay becomes representative of the intrinsic layering of human emotion where there are no clear-cut lines but a fusion of phantasmagorias - finding the sequentiality within the structure creates the image, allowing for an infinite cycle of reinterpretation. 





AD REM Zine Monsters of a mechanical 20th century world

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