While cloud images have provided inspiration for theoretical discussions on how to capture the sublime nature of the natural world in pictures since at least the time of Caspar David Friedrich, the photographs of the sky above Kritzendorf reveal an almost anti-sensationalist perspective on their subject. These images of the sky, framed by spruce trees, alternate in an almost casual manner, and the cloud formations and lighting conditions do not appear to have been selected on the basis of their aesthetic impressiveness. But the rigour of the conceptual gesture, free of subjective distortions, is simultaneously undermined by the slightly shifting image detail, which refers to the invisible arranger of such Promethean inventories. Instead of a reproduction of structuralist landscape photography, this becomes a quoted gesture, a contemplative activity. If one wants to capture the wondrous photographically, one must return more often to the next best place, which only becomes special through this decision. Perhaps one will even encounter something sublime there – if one is able to attune oneself to it.

Francesca-Romana Audretsch