Le Jardin Majorelle I 2019
ICM photography is attributable to experimental photography. The photographer moves the camera intentionally, while at the same time adjusting a long exposure time. The resulting exciting effects are hardly reproducible and make the recording unique. With my photography, I capture a certain situation and try to dissolve the subject through the movement of my camera. This results in a more or less alienated representation of the initial situation, in which individual components of the original motif are rebuilt. Esthetically speaking, I prefer motifs that are abstracted by the camera movement but are still recognizable. My motives are often people who move around public spaces. The alienation of the motif gives the viewer room for further interpretation.
Le Jardin Majorelle II 2019
ICM photography is attributable to experimental photography. The photographer moves the camera intentionally, while at the same time adjusting a long exposure time. The resulting exciting effects are hardly reproducible and make the recording unique. With my photography, I capture a certain situation and try to dissolve the subject through the movement of my camera. This results in a more or less alienated representation of the initial situation, in which individual components of the original motif are rebuilt. Esthetically speaking, I prefer motifs that are abstracted by the camera movement but are still recognizable. My motives are often people who move around public spaces. The alienation of the motif gives the viewer room for further interpretation.
Le Jardin Majorelle III 2019
ICM photography is attributable to experimental photography. The photographer moves the camera intentionally, while at the same time adjusting a long exposure time. The resulting exciting effects are hardly reproducible and make the recording unique. With my photography, I capture a certain situation and try to dissolve the subject through the movement of my camera. This results in a more or less alienated representation of the initial situation, in which individual components of the original motif are rebuilt. Esthetically speaking, I prefer motifs that are abstracted by the camera movement but are still recognizable. My motives are often people who move around public spaces. The alienation of the motif gives the viewer room for further interpretation.
Note: The text above was written by the Artist. No modification was made by COCA.
Susanne Lyoubi-Burk
Germany
Susanne Lyoubi-Burk grew up near Frankfurt am Main, where she attended school and completed her training as a foreign language correspondent. After further studies in event management, she worked for several years in Munich and in 2002 was a co-founder of a consulting company in the medical field. At the end of 2005 she moved to Connecticut, USA, where she worked for the non-profit organization “Round the World Women” for several years. She returned to Germany in 2009 and has lived and worked near Göttingen since then.
“Initially only intended as a hobby, photography now occupies an important place in my thinking and acting. As a creative person, I am open to many things and can be enthusiastic about very different topics, which is also reflected in my work. ”