Bruno Augsburger
Bruno Augsburger's landscapes exhibit no signs of human intervention, yet the pictures do not deal with a yearning for unspoiled nature. They came about on scouting trips through the Yukon in northern Canada, in the Icelandic tundra and in the Alps, as byproducts. Bruno Augsburger frequently goes fishing in order to take photographs. He goes looking for mushrooms or tracks the movements of animal whenever he has the camera to hand.
The more recent works by this photographer, who has studied in Zurich and Leipzig, are characterized by the camera in medium format. It is so handy that he can take his shots in passing. Unlike someone on foot who settles down to become engrossed in his observation of "natural paintings", Augsburger dispenses with the claim of being "in the thing" in his photos. The camera remains this straggler's companion. In addition, the moment the shutter is released is always different to the moment when he witnesses the scene. However, this photographic approach also encourages the emergence of unexpected sideshows; their geographical correlation resides in the impassable flecks of this earth.
The reduced cool spectrum of colors in the print signifies that the landscapes have never been seen like this before. The lighting is diffuse and hazy. The mist hangs low, the cloud cover mingles with the ground. Augsburger's pictures stop your gaze drifting off into the distance beyond the horizon. They push the mountain, the sea, the river, the wood into a silent distance.
Thomas Forrer, Zurich
Bruno Augsburger's landscapes exhibit no signs of human intervention, yet the pictures do not deal with a yearning for unspoiled nature. They came about on scouting trips through the Yukon in northern Canada, in the Icelandic tundra and in the Alps, as byproducts. Bruno Augsburger frequently goes fishing in order to take photographs. He goes looking for mushrooms or tracks the movements of animal whenever he has the camera to hand.
The more recent works by this photographer, who has studied in Zurich and Leipzig, are characterized by the camera in medium format. It is so handy that he can take his shots in passing. Unlike someone on foot who settles down to become engrossed in his observation of "natural paintings", Augsburger dispenses with the claim of being "in the thing" in his photos. The camera remains this straggler's companion. In addition, the moment the shutter is released is always different to the moment when he witnesses the scene. However, this photographic approach also encourages the emergence of unexpected sideshows; their geographical correlation resides in the impassable flecks of this earth.
The reduced cool spectrum of colors in the print signifies that the landscapes have never been seen like this before. The lighting is diffuse and hazy. The mist hangs low, the cloud cover mingles with the ground. Augsburger's pictures stop your gaze drifting off into the distance beyond the horizon. They push the mountain, the sea, the river, the wood into a silent distance.
Thomas Forrer, Zurich