This was my intention while shooting the series Close-Up over several years in my own small garden and others:
The camera sweeps and caresses these objects, the close-range shots, the intended blurriness, try to bring forward the plants and blossoms delicate composition, subtle or wild colouring, their extreme physicality and fragility. Fragments of ephemeral reality are transformed into abstracts to appear in a painterly quality.
I initially started this studies while working on my series 'Suedbahnhotel' (which has been widely exhibited and published in an art book), a work of several years on an abandoned grand-hotel in the Alpine region south of Vienna, Austria, that had been the centre of Vienna's Fin de Siècle society and its famous (mostly jewish) protagonists and has fallen into oblivion with the takeover by the Nazis. The long hours in the dusty solitude of this memory charged atmosphere have generated a strong wish for a totally contrasting, abstract and 'positive' art-work (well knowing that this is not exactly the current art-mood).
But while I was working on 'Close-Up' I realised that, even if the photos seem contrasting to my other works, they are just the same carried by my all-time intention to immerse into my chosen subjects, to give objects (or plants) a type of subjectivity, increasing their status with an autonomous materiality, form, and line and by trying this, set them into a new context.