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Menschenkunde – Felsenfest – Seelensucht

Albrecht Durer was – aside from immediate family members – the first man who made an indelible impression on me. I imagine that every artistic child in my hometown Nuremberg grows up staring at Durer's etchings and paintings and reading about his observations and ambitions. His images don't only speak of his desire to render his likeness, which resulted in a number of famous self-portraits, but of commodities and attitudes marking the advent of modernity. Durer, defined by the Renaissance and sympathetic toward the Reformation, interpreted in his works the ascent of Capitalism and the accompanying rise of the merchant class. Abundant fabrics, furs, and saturated colors signify growing prosperity, and the focus on portraiture and self-examination points to the prioritization of humanist ideals and individualism.

Menschenkunde, Felsenfest, and Seelensucht derive from my analysis of traditions, archives, and chronicles, essential in forming a culture's identity and a person's subjectivity. By their very nature, the contemporary photographic compositions, although formally inspired by the memory of familiar artworks, transform the traditional paintings' intrinsic allusion to a pre-industrial society into a current, classless, democratic concept.