Photography has never been especially in the focus of my professional interest. It often seems artificial to me, constructed and inferior to other forms of art. Lacking that force of innovation of which painting, for instance, is capable, or artistic forms of installation. I have always thought of photography as rather brutal, always aiming straight at the eye of the beholder. Sometimes nearly knocking him off, by its sheer presence. Photography is a brutal storyteller that forces its view of the story on the viewer. As if it always claimed the quintessence of a story for itself – an implicit reality that makes it difficult for the viewer to replace or elaborate on these frames of reference with an image of his own.
Tilmann Krieg on the other hand follows a completely different path of artistic expression: painted photography, situated exactly at the cross-roads between photographic painting, narrative fabulation and abstraction. His technique, too, is self-reliant and original. He accepts and delves into the motion traces of his photography, reinforcing them even, by the use of diverse unusual support materials, such as steel, copper or aluminum. The documentary character of a photograph thus recedes into the background or disappears completely, making room for playful properties of light, which becomes not merely a medium of photographic painting, but additionally unfolds a multitude of effects on the reflecting surfaces of the support material. The result generates an original and unique work, a discourse on time for which the artist uses photographic means.
Tilmann Krieg’s works relate to photography as a whole, in all its essential components – just as cinematographers often reach back to their own early works for inspiration. Krieg aims at a short moment of his own film, an atmosphere capable to transport the historical moment and make it felt. Photography has bred cinema and Tilmann Krieg relates to this “seventh” form of art in his dense and original narrative approach. In a certain way he enables the viewer to notice or discover the dimension of time in a cinematographic paraphrase that takes manifest form in a comprehensive picture.-Curator -Azad Asifovich