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Nothing is as it seems at first; everything is in process and thus in 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.
In order to gain new perspectives, it sometimes helps to destroy familiar ways of seeing...
Nothing is as it seems at first; everything is in process and thus in 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.
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.
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.
@ Ursa Schoepper
https://www.virtuelledenkraeume.de/
AWARDS
https://www.virtuelledenkraeume.de/ursa_schoepper_auszeichnungen.html
Ursa_Schoepper
Unconscious_Land, Mixed Media of Experimental Fine Art Photography, Colorpigment on Aludibond, mat, 2020, 90 x 66 cm, rückseitig signiert, aus der Reihe Unbewusstes Land
Trance, Mixed Media of Experimental Fine Art Photography, Colorpigment on Aludibond, mat, 2020, 90 x 68 cm, rückseitig signiert, aus der Reihe Unbewusstes Land
FarbLandschaft2, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2020, 67 cm x 90 cm cm, Unikat, rückseitig signiert, auf Wunsch auch auf Hahnemühlen Baryta und kleiner
FarbLandschaft, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2020, 67 cm x 90 cm cm, Unikat, rückseitig signiert, auf Wunsch auch auf Hahnemühlen Baryta und kleiner
Virtual City, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2020, 150 x 100 cm, mit Schattenfuge gerahmt, Unikat in dieser Größe, rückseitig signiert
Music in the city, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2020, 150 x 100 cm, mit Schattenfuge gerahmt, Unikat in dieser Größe, rückseitig signiert
Stadtlandschaft, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2019, 120 cm x 80 cm, Unikat, rückseitig signiert, auf Wunsch auch kleiner
Stadtlandschaft2, Farbpigment auf Aludibond, matt, 2019, 120 cm x 80 cm, Unikat, rückseitig signiert, auf Wunsch auch kleiner
Desert, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2020, 180 x 70 cm, in dieser Größe und Ausführung ein Unikat, rückseitig signiert, auf Wunsch auch kleiner
Canyons, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2020, 120 x 88 cm, mit Schattenfuge gerahmt, 3Exempl., rückseitig signiert
Eiszeit, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2020, 120 x 88 cm, mit Schattenfuge gerahmt, 3Exempl., rückseitig signiert
Get through, Experimental Fine Art Photography, Colorpigment on Aludibond,1/3 or on Hahnemühle Fine Art Baryta, 100 x 60 cm,1/7, signiert
Conjunct, Experimental Fine Art Photography, Colorpigment on Aludibond,1/3, or on Hahnemühle Fine Art Baryta, 80 x 80 cm,1/7, signiert
Wandering Path, Experimental Fine Art Photography, Colorpigment on Aludibond,1/3, or on Hahnemühle Fine Art Baryta, 80 x 80 cm,1/7, signiert
Appearance, 2019, Experimental Fine Art Photography, mixed Media, Colorpigment on Aludibond, mat, 45 x 120 cm, Unikat in this size
New Order, 2019, Experimental Fine Art Photography, mixed Media, Colorpigment on Aludibond, mat, 66 x 120 cm, Unikat in this size
Atomization_Lightspots, Experimental Fine Art Photography, 2018, 140 cm x 93 cm, Colorpigment on Aludibond, Rahmung mit Schattenfuge, Unikat, rückseitig signiert
Atomization of a lightsource, Experimental Fine Art Photography, 2018, 140 cm x 93 cm, Colorpigment on Aludibond, Rahmung mit Schattenfuge,Unikat, rückseitig signiert
Building block of a light source, Experimental Fine Art Photography, 2018, 140 cm x 93 cm, Colorpigment on Aludibond, Rahmung mit Schattenfuge, Unikat, rückseitig signiert
Dunst, Experimental Fine Art Photography, 2019,100 x 150 cm, Aludibond, matt, Unikat in this size, smaller if desired
Staubwolke, Experimental Fine Art Photography, 2019,100 x 150 cm, Aludibond, matt, Unikat in this size, smaller if desired
Verbund, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2020, 120 x 80 cm, Unikat, rückseitig signiert
Polarisieren, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2020, 120 x 80 cm, Unikat, rückseitig signiert
Nature2, aus der Reihe Licht malt, 2020, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 80 x 120 cm, oder ein anderes Format, in jeder Größe ein Unikat, rückseitig signiert
Nature, aus der Reihe Licht malt, 2020, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 80 x 120 cm, oder ein anderes Format, in jeder Größe ein Unikat, rückseitig signiert
Neues Spiel, Serie: Leichtigkeit des Seins, Experimental Fine Art Photography, Colorpigment on Aludibond 120 cm x 78 cm, Schattenfugen gerahmt, Unikat, rückseitig signiert, smaller on request, also on Hahnemühle Paper Baryta
Balance, Serie: Leichtigkeit des Seins, Experimental Fine Art Photography, Colorpigment on Aludibond 120 cm x 78 cm, Schattenfugen gerahmt, Unikat, rückseitig signiert, smaller on request, also on Hahnemühle Paper Baryta
Luftikus, Serie: Leichtigkeit des Seins, Experimental Fine Art Photography, Colorpigment on Aludibond 120 cm x 78 cm, Schattenfugen gerahmt, Unikat, rückseitig signiert, smaller on request, also on Hahnemühle Paper Baryta
Library_Books, Experimental Fine Art Photography, 2015, 120 cm x 80 cm, Colorpigment on Aludibond, Schattenfugenrahmung, Unikat, rückseitig signiert
Library, Experimental Fine Art Photography, 2015, 120 cm x 80 cm, Colorpigment on Aludibond, Schattenfugenrahmung, Unikat, rückseitig signiert
What is red-yellow-blue, Experimental Fine Art Photography, 2016, 90 cm x 90 cm, Unikat, Colorpigment on Aludibond, signiert
Experimental Fine Art Photography, Rhythm of four books, Referenz Bauhaus, 2016, 100 cm x 100 cm, Unikat, Colorpigment on Aludibond, signiert
Der Nachtigallen Nachtgesang, Experimental Fine Art Photography, 2017, Colorpigment on Aludibond, 40 cm x 30 cm, Unikat, Series Image Genetics, signiert
Farbmorsen, Experimental Fine Art Photography, 2017, Colorpigment on Aludibond, 40 cm x 30 cm, Unikat, Series Image Genetics, signiert
Bauplan_Neue_Räume, Experimental Fine Art Photography, Mixed_Media, Farbpigment auf Aludibond, matt, 2019, 80 x 24 cm, Unikat, signiert
New_Building, Experimental Fine Art Photography, Mixed_Media, Farbpigment auf Aludibond, matt, 2019, 140 x 70cm,Unikat
Formation im Raum, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2014, 120 x 80 cm, Unikat, rückseitig signiert
Formation_im_Raum2, Experimental Fine Art Photography, Farbpigment auf Aludibond, matt, 2014, 120 x 80 cm, Unikat, rückseitig signiert
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
EXHIBITION /SELECTION AND HIGHLIGHTS, http://www.virtuelledenkraeume.de/ursa_schoepper_ausstellungen.html
EXHIBITION /SELECTION AND HIGHLIGHTS, http://www.virtuelledenkraeume.de/ursa_schoepper_ausstellungen.html
EUROPEAN ART MUSEUM Frederiksvaerk, Dänemark,
HELMHOLTZ ZENTRUM für Materialien und Energie Berlin, Berlin - Adlershof
MUSEO CIVICO Giovanni Fattori ex Granai de Villa Mimbelli and Fortezza Vecchia, Livorno
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Contemporary Art Station London / Tokio | www.contemporaryartstation.com
M.A.D.Gallery Milano | www.madgallerymilano.com
Artifact Gallery New York | http://www.artupclose.com/ursa-schoepper
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http://www.virtuelledenkraeume.de/ursa_schoepper_auszeichnungen.html
For inquiries about artworks by Ursa Schoepper send an email via this contactform.
The message will be send to the artist's studio.
