unless you will

no. 20
“Encounter with
the physical world
is necessary to
keep the camera
from being but
an inert object.”

Eckhard Schneider
 4
The last couple of months I have about photography. Call me
been pondering and pondering. a simpleton, but in the end
Amongst all of those questions, it doesn’t matter to me how
these popped up again. How do many images they sold, if they Astrid Korntheuer
we gauge art? And as artists - published a book, or belong to a Natures Mortes
who do we create for? Ourselves, great gallery.
the galleries, the public or work to I either like the images and
please the collector? Where does can relate to them, find some
self worth come into it and how

26
inspiration or humour in them
can or should we measure that. - or I do not. If they make me
Do we base it on sales, the price ponder and question - all the
we put on our images, and how better. If they start a conversation
many images we sell? Inka Lindergård
and initiate a dialogue, all the
and Niclas Holmström
As artists, I think we all better, but essentially I am
constantly struggle with our own always looking for the essence of Saga & Watching Humans Watching
insecurities, frustrations and an artist. The way they surprise
anxieties about getting to the next me, how they use their creativity,
level, getting to exhibit in that and allow me to share the

50
gallery, getting a book publisher freedom of being an artist.
to take note of us. But in the end The artists in this issue all have a
what is it all about? slightly different perspective and
Should we not just satisfy our perception of the world around Elena Volkova
own curiosity, should we not them. Airscapes
just create and appreciate the I found their images compelling,
moment? Be a free agent, dream even thrilling and they made
up compositions, play with light, me wonder about their creative

64
tackle the shadows... process. By studying their work
Should we not simply celebrate I felt I could see “their vision” -
each image we are happy with their layered experience of their
and gain a little pleasure from crafted ideas. Meghann Riepenhoff
exhibiting in a small gallery? Instar
Without having a book published
or gallery exhibition?
I have looked at the images of

78
the great masters, my heroes
and inspirations, the emerging
and established artists and
people simply passionate Nanna Hänninen
Plants / Objects / Trees // Paint
 www.astrid-korntheuer.de

Astrid Korntheuer

Natures
Mortes
Courtesy Galerie Heike Strelow
Frankfurt/M, Germany
7
8 The Natures Mortes-series is
about disorder, abundance and
abstract painting. The pictures
flow over: it is hard to find some
orientation. But if ever you took
away all packaging material there
would be almost nothing left.
My photos are based on one
huge installation that I constantly
changed. They aren’t collages,
just 4x5 inch slides.
9
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13
 DISORDER AND ABUNDANCE
Didier Arnaudet, 2010

14 These pictures come from far

away, from depths in which they
have simultaneously congealed
and dissolved, from the dark
stillness of the lake, from the
sediments of time, and from an
interior between relentlessness
and exertion, an interior charged
with a diversity of perceptions,
memories, and tensions. Astrid
Korntheuer’s art consists in The processes guiding The Natures Mortes thus appear
using completely unexpected photographic depiction as a conglomeration of colors,
resources to compose pictures, are extremely revealing: objects, and structures, of a
thereby giving them a form rich fragmentation and convergence, surfeit of balloons, tubes, paper
in the diverse material from dispersal and concentration, snippets, pieces of cardboard,
which they are extracted – a form decay and revivification. The fabrics, and plastic, of a variety
inseparable from the energy from ingenious arrangements of garlands and flourishes, of
which they were generated and create balances that steer intertwinings and accumulations,
activated. This art imposes itself the converging and diverging reversals and linkages. The
like a curious alliance between peculiarities of surfaces, components taking part in this
disorder and abundance. textures, and grids. The mixture confusion profess their rapidly
ratio can thus transform perishable nature and do not
materials and contradictory, conceal their dilapidated state
unequal signs into a cohesive as trash. But starting from
whole that in turn evokes this chaos and using these
impressions that knot up and fragments as building materials,
untie again – echoing material the act of staging brings forth
and pictorial, abstract and an organized, durable picture.
figurative, imaginary and real, Astrid Korntheuer produces this
decorative and structural connecting logic with the aid
references. of a compositional pattern of
symmetries and picture puzzles,
fractures and joints, as well as
of an oversaturation of the space
by means of materiological
increase, a targeted use of light,
and a peculiar exploitation of the
techniques of painting.
Translation: Mitch Cohen

This approach proves to In addition, she gives meaning Such a disposition reveals a 15

be rigorous, organic, and to everything that is called kind of harmlessness that

musical; it brings into play the upon to change and everything should not be understood as
surrounding spaces, rhythms, that remains uncertain but the expression of a safe and
and the possibility of surveying tenacious and manifests itself seamless positioning, of course,
mutual boundaries. Her goal is in a complete but ephemeral but as the ability to create a
the montage of separated, cut- presence. The image of chaos work in frolicking regression
up pieces – pieces that, on first achieves a tensile force of that permits her to wrest rituals
glance, nothing seems to ensure transition. Without blindly and practices, as well as vibrant
that they will function together. limiting herself to the pure and unforeseeable gestures
Basically a “mixture function of decorative design, of creation, from the usual
photography”? It all depends she builds up a significant narrowness.
on what one understands by connection between the wish
that. But yes, one would like to return to a primal state, to
to use “mixture” to express the occurrence of overflowing,
the interest in blending things, excess, and abundance.
repeating them, and betting on This enables the space and
their antagonism, in order to its metamorphosis to have
create circumstances, states of extravagant profusion and
coexistence. Astrid Korntheuer aeration.
mobilizes and confronts the The world of Astrid Korntheuer
essence and effects of plant poses questions about the
and stone, of industry and informational value of its forms
poetry, of the accustomed of depiction. She answers this
and the artificial, of neglect primal question with a mixed
and recycling. She launches a form that resembles a disaster
process of regeneration that and a miracle simultaneously.
compensates reality’s gaps and In its complexity, she replaces
opens the storehouse of the simplicity with many twists
imaginary. and turns, without losing her
orientation. She makes powerful
and less marked decisions by
supporting herself with the
categories inherited from art
and culture and creating friction
between these and the desires
and bricolages of various
starting situations.
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www.inkaandniclas.com

Inka Lindergård & Niclas Holmström

saga &
Watching
Humans
Watching
Represented by Gallery Swedish Photography in Berlin
29
Coloured Mirrors, Pink Clouds
Dr Matthias Harder

Landscape photography has In other pictures in the “Saga” Inka and Niclas always work
been experiencing a renaissance series, which we are discussing together on large-scale series of
in recent years, but in quite here, we observe a grey, oily exposures where intention and
different manifestations. When liquid exuding from the Earth focus are different each time.
we are confronted with an and bubbling to the surface or If one compares, for instance, the
uninhabited, inhospitable ice- pink clouds drifting by. It soon individual images in the sequence
covered landscape in which a becomes clear that most of these “Watching Humans Watching”,
mirror reflecting the surrounding situations are not pre-existing, it becomes apparent with what
landscape is unexpectedly they have been staged even if in restraint and stamina the two
glimpsed in the snow, this is this case the coloured clouds are photograph their fellow humans;
clearly something special. At merely an artificial intensification usually from behind and thus
first, the reflection appears to of the normal expressive de-individualised, in a number of
be an image within an image, colouration of midsummer night locations, mostly in the Far North.
yet at the upper left corner of sunsets in northern Norway. This is the destination for many,
the mirror there is a flash of The two artists, who simply call particularly at midsummer, in
light, which could be from the themselves Inka and Niclas, alter order to experience an exceptional
rising or setting sun or maybe a the landscape only briefly with phenomenon of the light. During
camera flash. Occasionally, it is slight interventions, according these “magical” nights, the sun
only mirror fragments situated in to their own very personal visual rarely or never sets, producing
the image centre, which reflect concepts. This also applies to the a sunset with a corresponding
the surrounding landscape – strange colours of the rocks in the intensity of colour – myriad red
repeatedly refracted in the most snow. We are witnessing neither and golden tones - which lasts for
literal sense. The art of Inka chemical accidents nor climate hours. To shoot their photo series,
Lindergård and Niclas Holmström irregularities; this is nothing mostly during daylight hours, the
represents an playful-artistic more than colour from a spray two photographerssometimes
intervention, but one which is can or pink smoke, which tints waited a very long time until the
only carried out with and for the the landscape for the duration of emergence of a particular colour
camera. a photo exposure. Sometimes, combination of the protagonists’
In this respect, the Scandinavian it is merely colour filters placed clothing within the frame. It
artist duo espouse more closely over the flash, which falsify the sometimes strikes one as slightly
the values of Collier Schorr, or existing colours. Yet even given absurd that people should gather
Andy Goldsworthy who arranges this background, the fascinating at this spot, and the question
meticulous, temporary sculptures images lose nothing of their arises as to what they are actually
in ice or wood for his landscape radiance and impact. looking for. Inka and Niclas
photos, than the approach of investigate human behaviour with
their considerably more radical a subtle voyeurism: it appears
American Land Art colleagues, almost like an open air theatre
who sometimes even blast away performance, yet in reality no
whole sections of mountains in one has been cast in a role and
order to stage a parallel formality nothing has been added.
within the landscape.
Both series – “Watching Humans Only with the unusual combination The material used for the
Watching” and “Saga” – are linked of the two pictorial elements interventions in nature is removed
by the subject of unspoiled nature – northern European coastal after shooting the picture or
and it is surprising to learn that landscape and “floating” wooden pictures; none of the open-air
most pictures in both series were slats – does a tension and settings remains for longer than
taken at the same locations. explosive force emerge. Inka and an hour. Both the arranged objects 31
And so, as a logical consequence, Niclas act out this visual idea in and the natural setting are objects
they are closely interwoven in the same or similar locations and motifs of equal importance
this book and – in spite of their with wooden frames of various in the picture. By contrast, in
heterogeneous nature – form a sizes, sometimes stacked, so that the previously discussed series,
kind of entity. the vistas suggest independent people who were until recently
pictures within the picture. In this active subjects only become
By contrast, practically everything particular case, the whole scenery objects once the image comes
in “Saga” has been contrived. is tinged an unreal shade of blue. into existence. As the artists
The word “Saga” happens to
We find also in the series themselves say, they dispense
mean “fairy tale” or “myth” in
light-coloured ropes, fixed with labelling the location and
Swedish, and according to the
at several points within dark date so that the series retains an
artists, it functions as a kind
landscapes, which seem to trace air of enigma; on the other hand,
of umbrella term under which
the outline of a hill. Here too, the “Saga” picture titles are simply
various approaches to a series
we are being presented with a numbered throughout. The photos
of pictures can be summarised.
particular direction in which to were actually taken between 2009
The two do, indeed, transport us
read the image, one which we and 2011 in a number of different
to an enigmatic world of visual
automatically follow and which national parks in the USA, Iceland
surprises.
simultaneously gives substance to and northern Scandinavia. The (as
Some things, such as the mirrors, the hill. Were we to come across yet unfinished) project remains
were added to supplement the such a “tension” when walking an ongoing process within which
picture; others are somewhat through an unspoilt natural very little is predictable and allows
more complex in construction, landscape, we might imagine both artists – with the exception
such as a sort of wooden structure that we had found some primitive of spontaneous reactions to
made up of thin, pale wood geological survey or traces of particular situations – to also
slats which, tapering in several extra-terrestrial visitors. work in a considered manner.
layers into the picture’s depth,
Without a scale for reference, Behind the surprising, apparently
is held in front of the camera.
some proportions remain a scientific natural phenomena
This construction suggests an
mystery. In the case of the hill, for is hence an ironic comment.
image depth, and our gaze is
example, it could just as easily be The added objects or natural
directed towards the blue sea’s
an enormous mountain viewed materials collected nearby turn
horizon in the centre of the
from a greater distance. In “Saga” the concrete image into a thing
improvised framework – which
the interesting (and absolutely of mystery, something imbued
is the latter’s actual purpose. It
essential) fact is that the artists with symbolism; occasionally
is as if we are standing next to
never modify their interventions resulting in a pseudo-romantic
the photographers on a pebbled
with Photoshop afterwards. Digital transfiguration. While in one
beach, somewhere at the Baltic
post-production is only carried out series, people seem to be on a
coast maybe, with the sea
in the form of the usual contrast romantic search for the sublime in
stretching out before us beneath
or brightness adjustments, never a perfect landscape, in the other
a cloudy sky.
to enhance pictorial elements. this longing for edification and
pathos is paraphrased. A common
thread can be sensed throughout:
the photographers’ own real
fascination with nature.
32
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34
35
36 Inka Lindergård was born 1985
in Finland and Niclas Holmström
was born 1984 in Sweden.
They live and work together in
Stockholm, Sweden since 2007.
38
39
40 Of Great Wonder
Alexxa Gotthardt

Human experience lives in the

supranatural space between
solid realities and phantasmic
imaginings. Mind and eye vie, Like their subjects, Lindergård
play, and ultimately blur as and Holmström are out for
matter turns to memory, and awe-driven adventure. As they
memory affects encounters. travel the world’s most visited
These are the transformative landscapes, these peripatetic
moments when fantasy While similarities in process and
observers capture other travelers motive can be drawn to great
magics the tangible into the reacting to new vistas and natural
metaphysical. photographer-wanderers like
phenomena. A woman gazes Robert Frank, Joel Sternfeld,
Inka Lindergård and Niclas over the vast glacier. She is tiny Richard Misrach, and Alec Soth,
Holmström’s sublime against deep splits of earth and Lindergård and Holmström take
photographs capture these unbounded horizons. A grey tuft a less documentary view. Where
moments. As subjects both of hair doubles as mountain Frank and Soth map practices
human and spectral suspend camouflage, and she melts and places rooted in cultural,
between reality and fantasy, we further into the landscape. A ethnic, and temporal specificities
question what holds them there. couple lounges on a rock ledge – in series like “The Americans”
In the following scapes, the and looks into the vast night, and “NIAGRA” — Lindergård and
answer lights as wonder. instead of at each other. Their Holmström convey experiences
We live in a highly oversaturated skin matches their seat, and where time, race, and nationality
age. Images siphon through their teeshirts and shorts play are non-existent, or at least less
screens and pixilate to the point chameleon with the wisps of important. Misrach captures a
of hyper-reality. Phone glows nearby trees. natural world that is majestic
and browser frames consume Like the furtive ornithologist and almighty, but one that is
more visual space than bona or the sporting arctic explorer, tormented by society. In lieu
fide surroundings. And while Lindergård and Holmström seek of mining the raw realities of
these upgrades offer a kind of to preserve the perfect moment contemporary living and its effect
ceaseless stun tactic, Lindergård when subject and surroundings on our surroundings, Lindergård
and Holmström’s images deal in engage and harmonize. They and Holmström’s animus is
an elemental, and arguably more are fascinated by that instant the sustained, soul-stirring
powerful, kind of awe. Far away when travelers go still, becoming relationship between humans and
from networked alterworlds, carefully placed relics of the nature. It is a studied, romantic
these pictures reflect the captured experience. In this way, view where the camera acts as
private excitement of age-old they are anthropologists as much a curious set of binoculars or a
exploration. as image-makers. quixotic kaleidoscope.
 Lindergård and Holmström
give us more than observation
of experience – they seem to
divulge what, and how, their
subjects see. Those images
without people might embody
individual impressions – micro
It is this kind of wonderment views of realities extended and
that powers—and is gorgeously accentuated. A deep-red rock
The expedition photographer rendered—in the following oozes fluorescent sherbet, or
Herbert G. Ponting’s accounts of images. A surprise of great the remnant goo of melted
arctic travels recall the awestruck beauty; an exhilarating, fearful sun. Icy pink stalactites stand
immersion evoked by Lindergård moment; rapt awe; and a guard at the entrance of a Yeti’s
and Holmström’s tourists-cum- happy conversation between a playfort, or double as the maw
adventurers. On a 1910 voyage human and nature is revealed in of some ancient sea monster.
alongside the infamous Captain sweeping tableaus, lush color As wonder overcomes time and
Robert Falcon Scott, Ponting fields, and small, but undeniably place, Lindergård and Holmström
reacts to a mighty glacier: engaged individuals, couples, and invoke the abiding mysticism
Then I paused, for the groups. Whether deeply involved inspired by human-nature
prospect that opened out was in the conversation, or expectant relationships. J
of arresting grandeur. […] that it will happen, the subjects ohn Ruskin, a critic-philosopher
An eerie feeling crept over bare a desire for this connection. known for his deep trust in
me in the presence of this Patterns in the actions and nature’s ability to arouse
majesty of silence: a feeling aesthetics of Lindergård and creativity, would have been
of exhilaration and awe, as Holmström’s wayfarers reinforce excited by Lindergård and
I thought of my remoteness these moments of fundamental Holmström’s images. As our
from that great pulsating rapport. Subconsciously blending photographers zoom in and out
throng of life so many with their new environments, of human experiences, Ruskin’s
thousands of miles away. The many wear the colors that 1856 conjuring of an aspirational
desire to break the magic surround them. Others wander stone feels wonderfully present:
spell was irresistible, so I off alone, freezing in the face “For a stone, when it is examined,
shouted a loud’ Coo-ee!’ To of a handsome view or inviting will be found a mountain in
my astonishment the precipice curiosity. Some gather together, miniature.” Through Lindergård
immediately responded, and forming constellations that map and Holmström’s lens, stones
shouted back Coo-ee!’ It was topographies. These habits, set in become wild, sensory, intimate
thus I discovered one of the big landscapes with radiant color curiosities – instances of
finest echoes I have heard in schemes, iconize the subjects as wonderment made from
any land. testaments to primal bonds. wandering.
43
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47
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Airscapes
Elena Volkova

www.elenavolkova.com
 My exploration of nothingness is 53

informed by Eastern philosophy,

in which the notion of nothing
is understood as the beginning
and the potential. This I believe
varies significantly from the
Western existential notion of
nothing as doom or death.
When you gaze into the sky, are According to the Taoist principles
you aware that you are gazing of Chinese painting, space is
into emptiness? Do you see the not a measurable quantity, but
sky as a barrier between you and rather a means for suggesting
infinity? If you perceive something the immeasurable vastness.
as being empty, is it because Similarly, in most of my
you understand the concept photographic work, the subject
of fullness, or is it because of matter is gradually obliterated
fullness you perceive emptiness? into large areas of a white void,
suggesting unknown vastness
My artistic curiosity lie in the
and unrealized possibilities.
interchange between nothing and
Presenting the viewer with
something, and its manifestation
subtle indications of an image
in everyday reality. While
on a mostly white piece of photo
focused on natural elements, I
paper, my goal is to bring forth
am interested in the threshold
the dialogue between the infinite
between the two, their connotative
qualities of the landscape and the
values, and the ways in which they
limitations of the photographic
inform and question each other.
process. In addition, I wish to
For the premise of my work, I question the viewer’s perception
focus on forms easily recognizable of the boundaries - the edges of
and universally understood: water, the piece of paper and the edges
sky, land, forms that are part of of the image - determined by
our everyday poetry, sublime or camera framing.
mundane. Creating photographs
of these subjects, my goal is
to explore how much visual
information is needed to perceive
the essence of the subject against
the background of nothing, a
void. I am interested in the ways
in which this essence serves as
a framework for nothingness, as
well as the ways it manifests itself
against the canvas of nothing.
54
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57
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60 Elena Volkova was born and Volkova has received several
raised in Kiev, Ukraine, and she recognitions and awards,
moved to the U.S. in 1994. She including the Janis Meyer
earned two degrees from the Traveling Fellowship, which
Maryland Institute College of Art: allowed her to photograph
a MFA in Studio Arts as well as a remote areas of Russia in 2003.
BFA in Photography. In 2010, she was awarded
Elena’s current body of work Hamiltonian Fellowship.
follows post-minimalist Volkova resides in Baltimore,
aesthetic and focuses on the MD. She teaches art at Seton
idea of liminal space, as well as Keough High School, and an
legibility, or the limited amount adjunct Photography professor
of information that is needed for at Goucher College.
a viewer to perceive a subject.
It also addresses the viewer’s
awareness of boundaries and
their interaction with an
art space.
62
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www.meghannriepenhoff.com

INSTAR
Meghann Riepenhoff
66 Solarstorm II
(Viscose cellose+ carbon bisulphide)
 Solarstorm I
(Cotton, resin balls, embroidery string, acetate trays)
Initiation
(Latex, viscose cellulose+caustic soda+carbon bisulphide)
 Instar* is a series of unique The objects I use are domestic 69

chromogenic photograms. detritus and the negatives

Photograms are traditionally a tend to be of largely unaltered
camera-less technique, made landscapes. I’m investigating in
by placing objects directly onto the potential for the insignificant
photo-sensitive paper, allowing to evoke the immense, the
light to pass through the objects, personal to resonate at massive
and then processing the paper scale, and the often-reactive
in photographic chemistry. The meeting places of seemingly
nature of the process requires the opposing forces. My images
compositions to be constructed appear as abstract, minute
in pitch darkness, inherently intercellular reactions or as
resulting in unique pieces. My colossal cosmic landscapes,
work pushes the process of and are informed by paramount
photogramming by not only using interpersonal narratives from
objects, but also incorporating my life. I title the work after both
an enlarged negative, meaning an immense event (Solar Storm,
that the objects respond not only Nebula, etc) and the common
to the light from the enlarger domiciliary debris that were used
but also to the color, texture, in the process (pillow stuffing,
and subject matter present embroidery string, sand, etc),
in the negative. Additionally I creating imagery that hovers at
manipulate light sources, move the confluence of the reactive
the objects, and fold or curve and the stagnant, the toxic and
the photographic paper during the beautiful, the heavenly and
exposures, allowing each print the disastrous.
to function much like a scientific
experiment, where results are
often unforeseen.

* The title Instar is derived from the

following Rebecca Solnit text. Instar is
a biological term used to describe the
successive stages between molting in an
insect. Below, the author gives poetic,
social application to the term.
“The strange resonant word instar....
implies something both celestial and
ingrown, something heavenly and
disastrous, and perhaps change is
commonly like that, a buried star,
oscillating between near and far”.
70 Electric Exchange
(Latex+ calcium nitrate, polyester, upholstery string)
 Solar Wind II
(Balloons, string, rayon, pink slime mold negative)
 Magnetic Confinement
(Latex+ calcium nitrate, polyester, upholstery string)

72 Meghann Riepenhoff teaches at

the San Francisco Art Institute.
Her exhibition record includes
solo shows at El Museo de la
Ciudad in Mexico and Duncan
Miller Gallery in Los Angeles and
her work has been published by
Harper’s Magazine and B&W and
Color. She was selected as an
artist in residence at the Rayko
Photo Center and the Banff
Centre for the Arts, where she
received the Darwall Scholarship.
Riepenhoff received the Ann
Bremer Memorial Artists’ Book
award, has lectured with the San
Francisco Photo Alliance, the
Headlands Center for Research,
and has hosted workshops on
the value of photography for
at-risk youth. Riepenhoff earned
her MFA from the San Francisco
Art Institute and her BFA in
Photography from the University
of Georgia.
74 Collision
(Balloons, laser lights, acetate, saran wrap, string, polyvinyl chloride)

74
 Magnetic Reconnection I
(Polyvinyl chloride[tinsel], phosphors+ plastic+ resin)

75
76
 Stellar Nursery 77
(Pillow stuffing, chiffon, resin)
78
 Nanna Hänninen

PLANTS /
OBJECTS /
TREES //
PAINT

www.nannahanninen.com
80 Plant X
Plant VI 81
 Object I

82
The new series Plants / Objects Royal to my way of working I 83

/ Trees // PAINT reflects on the combine different surfaces in

history of black and white versus the pictures. The combinations
color photography as well as of original photographs and
the relationship between paint paint question, on conceptual
(painting) and photography. In level, the classical thesis
this conceptual work painting is of photography as value of
a part of the process, revealing thruth, aswell they emphasize
in its systematic thoughts on the abstract elements and
artificiality. their relationship to the ever
Alienation and the changes changing reality. In the new
brought by new technology, series there attends a search
aswell as the 9/11 incident in for (maybe lost) connection to
New York have affected my the common surrounding world
previous work in the beginning of and its beauty.
the new decade. It was shown in The form of my works has
various pictures on paperstacks, grown from very minimal
boxes and other everyday esthetics to a plentiful.
life things having to do with Plants / Objects / Trees //
organizing and filing- keeping PAINT was shown for the
the control. first time in Berlin at the FT-
But now there is a growing contemporary in May 2011 and
concern about climate change, it consists around 15 images
not only politically but also by now, in size 72x90 cm to
ethically. As well as the 130x160 cm. There will and a
alienation of the nature itself and monograph available on this
its circulation, we feel the same series in the near future. It will
about ourselves. Life has become be published by KODOJI.press
more and more artificial. The (CH).
motifs are now from the nature-
everyday nature- and they
seem iconic or classical- like
flowerbuckets, trees etc.
84 Plant III
Plant IX

85
Plant V

Nanna Hänninen was born in 87

1973 in Finland, in Rovaniemi

and she lives and works in
Finland in Kuopio. She studied
at the Lahti Institute of Design
in Finland, the Hochschule für
Kunst und Gestaltung in Zürich
and the University of Art and
Design in Helsinki. Her works
have been shown in several solo
shows and numerous group
exhibitions and are part of
international institutional and
private collections.
Cactuses III
 89

Plant VIII
90

Cactuses II
Plant II
92
Plant VI 93
Front image Meghann Riepenhoff Back IMAGE Astrid Korntheuer Please note no image in UYW can be reproduced
without the artists prior permission. All images are protected by copyright and belong to the artist.

www.unlessyouwill.com // [email protected]