Expanding on the series Supervisions, begun in 2002, photo artist Andreas Gefeller (*1970) has included new aspects in his original concept. He systematically scans surfaces, most of them in urban space, from a low height by digitally assembling hundreds of individual photographs into monumental images. This visual inventory, which includes meticulous details and spatial contexts, remains without a central focus, oscillating in a disturbing way between two- and three-dimensionality. In his most recent works, Gefeller provides new insight, for instance, by directing the gaze upward, once again heightening the optical illusion, or by using variable factors, such as time and motion, to fracture the perception of a supposedly perfect composition that is correct in terms of perspective. Gefeller ultimately succeeds in depicting the photographic log of what is visible as an impossible notion.
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