Völkisch, Modern and armed with a Leica

‘It is not the state proper that is the organism but the land in its spiritual bond with the people who draw sustenance from it.’ Johannes Mattern. Geopolitik: Doctrine of National Self-Sufficiency and Empire. The Johns Hopkins Press, Baltimore: 1942. p.55. Fresh from the wash, today. This morning I was in the darkroom making black and white photographs from a set of vintage negatives by the photographer Hans Saebens (1895-1969). The negatives were acquired for the School of Art Collection (along with 75 vintage Saebens prints) in 2014. Saebens trained as an artist at the Kunsthochschule Bremen, and after the First World War practiced as a graphic artist and landscape painter out of Worpswed

'Mitternacht' Dreaming in Deep Prussian Blue ...

This year (2017) I began work on a new series of images that reflects my fascination with found photographs. Why found photographs and why these ones in particular? For me, the found photograph is a poignant symbol of a lost moment. The snapshot in particular represents a narrative of family and an assertion of identity and self; they are visual fragments of what was once significant to that nucleus of ordinary people who made, collected and collated them in their albums. They are often posed, set up and situated in a subjective way but they are nevertheless in the main artlessly done, they do not dissemble in the manner of the sophisticated (and intentionally manipulative) image from media

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