Hannah Schemel has devoted the last years of her work mainly to landscape subjects, which she records again and again. In the Umi series, this is the sea around Quiberon in Brittany, and with the Kigen series, she focuses on the forest of Schwarzwald. The evolution of the two series is followed by her newest body of work titled The Clock in This City has no Pointer. The two ancient landscapes have captivated her not only with their varied, ever-changing forms of appearance, but also with the multilayered stories with which they are imbued. Her approach to her work is deliberate and serene – she uses a large-format camera, returning to the same location where she observes the landscape. Sometimes, a day can pass while she’s there, sensing its pulse and witnessing the changes in light, sounds and wind, without ever pressing the shutter button. The artist believes that by observing the same place over and over again, we are also confronting ourselves. The landscape that is formed in the mind of the viewer is influenced and shaped by our own experiences, memories, fears and dreams, and this ultimately becomes a creative act in itself.
Vida Jocif

Tereza Kozinc explores the medium of photography impulsively; her works record the unplanned moments of everyday life that catch her attention with a sincere, sometimes almost brutal bluntness. We follow the artist through the transition between two stages of her life, at the turning point when a woman-artist becomes a mother-artist. The creative act is thus at the same time an act of creation, and the bond between the creator and the created is not only invisible and emotional, but also supremely physical, biological and earthly. Between the tectonic shifts, the disintegration and re-establishment of priorities caused by the previously unimaginable weight of maternal responsibility, devotion and care for the other, the darkroom remains the artist’s sacred space. There, the tension that gave rise to a work of art is released, spilled and liquefied.
Vida Jocif

The artist has been developing two long-term projects, kigen (the origin) and umi (the sea), in which she traces the origin of places either through provenance in the Black Forest or the sea of Quiberon. Influenced by the philosophy of Zen and Japanese poetry, Schemel focuses on the concept of light and shadow, the understanding of nature and the tea ceremony both aesthetically and in terms of content. Her work is about the conscious reduction of the spontaneously experienced, reduced to the essential, leaving room for thoughts and experiences of the viewer.
The recordings of the world around Schemel, almost detached from the passing of time, are symbiotically complemented by the masterful craftsmanship and the exquisite quality of material, turning every picture into a unique one. The photographer works with an analogue large format camera and creates her photographs using hand-made paper especially developed for her, into which she lets her motives sink using a platinum-palladium mixture technique with a delicate Japanese paint brush made of goat hair.

The artwork constitutes of 5 individual 36 x 8 cm sheets of paper.

The artist has been developing two long-term projects, kigen (the origin) and umi (the sea), in which she traces the origin of places either through provenance in the Black Forest or the sea of Quiberon. Influenced by the philosophy of Zen and Japanese poetry, Schemel focuses on the concept of light and shadow, the understanding of nature and the tea ceremony both aesthetically and in terms of content. Her work is about the conscious reduction of the spontaneously experienced, reduced to the essential, leaving room for thoughts and experiences of the viewer.

The recordings of the world around Schemel, almost detached from the passing of time, are symbiotically complemented by the masterful craftsmanship and the exquisite quality of material, turning every picture into a unique one. The photographer works with an analogue large format camera and creates her photographs using hand-made paper especially developed for her, into which she lets her motives sink using a platinum-palladium mixture technique with a delicate Japanese paint brush made of goat hair.

The artist has been developing two long-term projects, Kigen (the origin) and Umi (the sea), in which she traces the origin of places either through provenance in the Black Forest or the sea of Quiberon. Influenced by the philosophy of Zen and Japanese poetry, Schemel focuses on the concept of light and shadow, the understanding of nature and the tea ceremony both aesthetically and in terms of content. Her work is about the conscious reduction of the spontaneously experienced, reduced to the essential, leaving room for thoughts and experiences of the viewer.

The recordings of the world around Schemel, almost detached from the passing of time, are symbiotically complemented by the masterful craftsmanship and the exquisite quality of material, turning every picture into a unique one. The photographer works with an analogue large format camera and creates her photographs using hand-made paper especially developed for her, into which she lets her motives sink using a platinum-palladium mixture technique with a delicate Japanese paint brush made of goat hair.

"You are my place.
Water and escape."

• Tereza Kozinc

The artwork constitutes of 3 individual 50 x 20 cm sheets of paper.

The artist has been developing two long-term projects, kigen (the origin) and umi (the sea), in which she traces the origin of places either through provenance in the Black Forest or the sea of Quiberon. Influenced by the philosophy of Zen and Japanese poetry, Schemel focuses on the concept of light and shadow, the understanding of nature and the tea ceremony both aesthetically and in terms of content. Her work is about the conscious reduction of the spontaneously experienced, reduced to the essential, leaving room for thoughts and experiences of the viewer.

The recordings of the world around Schemel, almost detached from the passing of time, are symbiotically complemented by the masterful craftsmanship and the exquisite quality of material, turning every picture into a unique one. The photographer works with an analogue large format camera and creates her photographs using hand-made paper especially developed for her, into which she lets her motives sink using a platinum-palladium mixture technique with a delicate Japanese paint brush made of goat hair.