“Ach, es sind des Haifischs Flossen
Rot, wenn dieser Blut vergiesst.

‘Oh, the shark’s fins appear
Red, when he spills blood.’

[Bert Brecht / Kurt Weill, “Three Penny Opera, The Ballad of Mack The Knife”, 1928]

An extension of the “Prostitutes” albums from 2014; a project on ‘photographs of women’.

A photograph, like a puppet, is a response to a detail of life, creating an abstracted stand-in, abstracted by omitting most details and only reproducing and possibly emphasizing the most essential ones depending on the situation.

There exists an abundance of photographs (as well as any images) of women. I am interested in the question:
“why are we taking photographs of women?”, in particular researching erotica.

Erotica are a communicative short-cut, a visual Pavlov’s dog, that is based on desired sexual stimulation, in case of a photograph, triggered visually. This is a biological effect that also applies to other animals, such as i.e. birds or fish.
I am interested in situations where despite the rather big difference between an actual woman and a photograph of a woman the difference between a photograph of a woman and a photograph of a puppet of a woman (in the case of a sexual context) in its effect becomes so insignificant that it no longer applies or seems to be irrelevant because of what the photograph communicates, in this sense situations where instinct overrides cognitive knowledge.

It is possible that in the quest for instantaneous sexual stimulation it is a wrong assumption that a living woman is preferable to a photograph of a living women, and this being preferable to a puppet of a woman, which would be preferable to a photograph of a puppet of a woman.

Some critics in the past have concluded from this body of work “Haifischflossen” and because I am biologically a woman myself making this work I must be also a feminist.
This is not necessarily correct, although it probably depends on the definition and who is making it of “feminist”. Basically this work is a reflection of images that surround me, that I pick up on and mirror in my own images, same as a child paints images from its surrounding.

Same as the work of the “Each reflection…”-project also this work was made “reverse/site-specific” meaning I scouted my surrounding for locations that visually seemed to offer qualities accommodation the images I had in mind creating.