Ursa Schoepper

Conceptual Art / Experimental Fine Art Photography / Mixed Media

Nothing is as it seems at first; everything is in process and thus in change.

Experimental Fine Art Photography a Metaphor of Change.

A digital photography is a light image and a data image. As a result, it is material of different systems. It is a preliminary image, a foil of pictorial perception. A mirror is held up to our perception. This always means our perception is in process. As in painting, photography is also about ideas of reality. The camera loses the character of an objective recorder of factual truthsin this case.

In order to gain new perspectives, it sometimes helps to destroy familiar ways of seeing in the figurative sense, to think visually in processes, not in states. For me as an artist this means, for example, that I am destroying a photographic image by transformation, that I have previously taken. In other words, through a new algorithmic ordering structure, I arrive at a new seeing and visual order. First of all, it is a search for the ideal of the formula of an internal order. An inner order that holds everything together, that describes an ideal whole.

We see in the result as experimental photographic art something that we could not perceive in this order before. It is something that was already possibly included in digital photography. Photography thus becomes shapeable matter. An algorithmic ordering system that underlies digital photography as a grammar leaves a new constructive substantive order through transformation.

Creatively following an artistic idea, I thus develop autonomous photographic images. My artistic work can also be called conceptual work with photographic material. As a phantom of light and a digital structure, photography becomes the carrier of a visual vision. Light image simultaneously data image form the design of another possibility, a virtual reality in a realistic reality.

My uninterrupted work of seeing is noted by means of a photograph of the intensity of my senses, and is transformed through creative work of my mind, my soul. It is the modification of the optical impression of the world of objects through a transcendent mathematics of the soul. That is the prerequisite for my artistic work. The limitless beauty of creation, its inherent formal order makes me search for the formula of perfection.

Miles Davis once said, "Wayne Shorter was curious, he liked to experiment with musical rules. If they didn't fit, he sat down, but with a musical feeling; he knew that freedom in music requires knowledge of its rules to bend them to your own taste and needs." As an experimental photo artist, that's spoken from my soul.
@ Ursa Schoepper

https://www.virtuelledenkraeume.de

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https://www.contemporary-art-collectors.com/noble-art-conversations/ursa-schoepper

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https://www.virtuelledenkraeume.de/ursa_schoepper_auszeichnungen.html

What is it about your studio space that inspires you?

My curiosity to look at things differently. In the studio but also outside.

What sounds, scents and sights do you encounter while in your studio?

Sometimes Jazz. And I love the view in my garden.

What is your favourite material to work with? How has your use of it evolved throughout your practice?

I love photographic material as a material. How is digital material constructed? So how can I use it creatively? What does the result tell us about our perception? It is also exciting to look at reality systemically.Looking for truth, artistic design moves between the imitation of realistic realities and their abstraction. It is very interesting for me to look at photography as a mask of reality, as a arole model, as the archetype of a perception, a way of seeing and point of view. Aesthetic redesign does not mean devaluation, but in the process allows the way to an autonomous photographic art.

What themes do you pursue?

I deal with philosophical aspects. With the realistic reality and the virtual reality,understood as what is possible after the possibility and what is possible in possibility, as Ernst Bloch describe it. At the same time, I'm fascinated by the connections of the system theory. Looking at photographic work against the background of systems theory is tremendously exciting.

What advice has had the biggest impact on your career?

During my cultural management studies, Professor Eckart Pankoke gave us an interesting note on innovation. He recommended: "Wer seine Chance ergreift, riskiert wie der Künstler und das strategische Genie das Aufbrechen der Wahrnehmungsroutinen und im Extrem (Selbst-) Zerstörung. Doch nur das Risiko der Destruktion kann der Innovation den Weg öffnen.“ Prof.Eckart Pankoke

If you could install your art absolutely anywhere, where would that be?

Wherever I can touch people's souls. Wherever a dynamic, open, creative and innovative climate can be found, and where it is understood that an unorthodox approach to photographic material can mean looking forward. A change of vision, dynamism and processing do not let forget the past.

If you could only have one piece of art in your life, what would it be?

An art work by Gerhard Richter or Pablo Picasso

If you weren´t an artist, what would you be doing?

A scientific researcher

What are your favourite places besides your studio?

I like to be on travel, curious to explore the world, meet friendly people, learn from them

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