Hase & Reh
150x130
Acryl auf Leinwand
2022
Hase & Reh
180x140cm
acryl auf Leinwand
Hase
Acryl auf Leinwand
180x140cm
2022
Memories i never had
AI generated pictures of an old family album
distel
wild cyanotype - on rives paper
76x112cm
-available-
painting the sky
acryl on canvas
2022
-sold-
Marshmallow Clouds
acryl on canvas
2022
120x120 cm
-available-
wild Cyanotype
Cyanotype auf Rives Papier
76x56 cm
2022 Fenchel aus dem Garten
-verkauft-
Cyanotype on paper
A3
2022
Acryl auf leinwand
180x150
Blumen vom Lukmanier
Belichtet vor Ort
Cyanotype auf Rives Papier
Wild Cyanotype with acid salt turmeric and more
Acrylic Painting 120x120cm 2021 Graubünden
Ein Himmel für Büchi
Ebener wurde im 2021 ausgewählt die Kunstwand von Büchi Labortechnik in Flawil zu bemalen.
painting Skies
acryl on canvas
160x120cm
2021
Acryl on Canvas
2021
120x120cm
Wet-Cyanotype on expired photo-baryt paper with vinegar salt and curry
2020
Format A2
Unikat
Ways out of Confusion
Total confusion is the notion to use after the new continent called „internet“ has been added to photography and the world in general. Technology has accelerated and will keep on creating new road maps for creating (photographic) images., simply because technological innovation never stops.
My disturbing experience from teaching and conversations with young photographers or „artists using photography“ (as they like to call themselves) is that there are too many choices from which they can choose: torture of choice.
In today’s world the young students are confronted with so many ways how to create works that – in my personal view – the smartest of them have started to realize how important the reduction of complexity of an almost endless offer of technological possibilities is. While the older generation still wonders what happened in the last ten years, since the hitting success of „the digital“, the very young artists and photographers take the world wide web and all it offers as a given, as a commodity, just like bred and butter on their table.
So, where to turn, what to do, which works to create? Many fall into the trap of technical and aesthetic „convergence“ in the sense that still and moving images are at any given time easily at hand, ready to be used. Exaggerating a bit, once could say: Show me a young photographer or artist who consciously contents him- or herself creating still images. only Technical devices seducing her or him to create shorter or longer films are lying just too close on the table of the studio. Once the saying „after Warhol“ went: Everybody can be a star for five minutes. Now everybody can be a film maker for ten. The results, however, are only too often films that in no way have the quality of earlier experimental artist’s movies or well-made TV-documentaries of today.
Fortunately there is a trend amongst young creators that moves into a different direction. For them the magic word is: „No thank you! I am aware of all the hipstamatic possibilities in my Apps, of my HD-camera, of photoshop’s calactical number of choices. But I am not interested. Let me try another way.“
Personally I must confess that I have begun to be much more interested in this group of young creative persons. One very interesting trend is the re-discovery of traditional techniques, the creation of photography-based images using old craft, thus creating images that might have originally been taken digitally, but have then been transerred into works using the hands, „the gesture of the artists“ in its most immediate sense.
Young artist Andrea Ebener – she was born in 1987 in Zurich/Switzerland – has created of group of self-portraits that she first took with her digital camera. At the same time she has started to discover for herself old techniques like photogelatine printing or bying the necessary chemical components to create cyanoprints. She produces them herself on watercolor papers. Each of the image that literally „goes through“ her hands is unique, no other person is involved. This way the notion of the often abused declaration „vintage print“ comes back to life, as each print is created by the artist herself shortly after the original image was taken digitally.
I am very interested and magically taken by her images, which are the result of combining technologcal innovation („the digital“) and traditional craftmanship. And I believe that this combination will be a way out for some of the young creative photographers who are sitting in front of their screen asking themselves: „What can I add to the creation of photographic art that has not been done yet? How can I develop my very own, distinctive handwriting?“
And, there is one thing to add: Images like those created by Andrea Ebener can only be made photographically, not through any other technique. Which is – apart from the always given criteria of artistic quality – another very important aspect when judging fine art photography: Could the images have been done better than by using photography? In the case of Ebner’s cyanoprints and photogelatine prints the answer fortunately is a clear „no“, they could not have.
So, there a r e ways out of confusion. Maybe the key after a century of photography is: Stay simple. And genuinly photographic.
Walter Keller
March 2012
Nachtaufnahmen während den Rauhnächten zwischen 2019-2020
Acryl auf Fiberglas
ca.25x30
unikate
2020
clouds by andrea ebener
140x100
Masks, feathers and bones
Free
Free Project
Print on wood
Tracht meiner Grossmutter
free project
all costumes& masks by Andrea Ebener
Cyanotype auf Baumwolle
Unikat
140x200cm
Wet-Cyanotype on expired photo-baryt paper with vinegar salt and curry
2020
Format A2
Unikat
Cyanotype with salt vinegar and curry
Nature Morte
2019
Druck auf Hahnemühle
Auflage 5
Format 150x150cm
Nebel in Winterthur 2020
Coronazeit
Abzüge erhältlich
News About my Exhibitions
Cyanotype
Blumen des Lukmanier
vor Ort belichtet
Cyanotype
Blumen des Lukmanier vor Ort belichtet
from my exhibition reblog
the third day_II
80x60cm
liquid photoemulsion on wood
