Dimensional View: Thomas Kellner Photographs

© Thomas Kellner

German photo artist Thomas Kellner is known for his photographs of seemingly dancing architectural exteriors and interiors of tourist attractions from all over the world. Even though his photographs show popular motives that have been mass-produced, his work is unique due to his new artistic method called “visual analytical synthesis” in which he does not take one shot but several thoughtfully planned ones in order to create a picture out of contact sheets.

His work is often referred to Cubism considering that his creative process includes a construction but the results resemble a deconstruction. Thomas Kellner’s works imitate the wandering look of the eye, showing us segments of the total which come together as one image. Therefore his photographs do not deconstruct architecture but reconstruct our view on it. At the same time his work also reflects the flood of pictures we live in nowadays and furthermore contains the question of decaying cultural values.

For more of his work, check out his website.

02#10, Paris, Tour Eiffel, 1997, BW-Print, 17,5 x 27,0 cm / 6,8″ x 10,5″, 10+3

14#12, London, Tower Bridge, 1999, BW-Print, 22,8 x 21,0 cm / 8,9″ x 8,2″, 10+3

33#35, England, Stonhenge, 2002, BW Print, 34,5 x 14,5 cm / 13,5″ x 5,6″, 10+3

38#10, Guggenheim Bilbao, 2003, BW-Print, 68,2 x 42,0 cm / 26,6″ x 16,4″, 10+3

37#13, Barcelona, La Sagrada Familia, 2003, BW-Print, 22,8 x 42,0 cm / 8,9″ x 16,4″, 10+3

40#06, New York, Skyline at Brooklyn Bridge, 2003, BW-Print, 34,5 x 28,0 cm / 13,5″ x 10,9″, 10+3

41#02, Washington, Capitol, 2004, BW-Print, 26,8 x 35,2 cm / 10,4″ x 13,7″, 25+5
42#14, San Francisco, Afternoon at Golden Gate Bridge, 2004, BW-Print, 34,5 x 28,0 cm / 13,5″ x 10,9″, 10+3



Thomas Kellner. Seeing With and Without the Camera Brasilia.

In the stately interior of the Dom Bosco Sanctuary sits a tripod with a single-lens reflex camera of the Pentax variety with 50-500mm objective lens. A man with braids, evidently the photographer, fixes the camera on the tripod and casts a searching peek through the camera’s viewfinder. Together with the photographer, we see the focused image through the viewfinder and regard an abstract sample of the diagonally running concrete furrows ordered parallel to the original furrows where the two mix in two triangular, conical points of a luminous dark blue.

We hear the “click” of the shutter, turn our heads towards the tripod and camera that is tilted and fixed to the left; again we see, but this time around in another perspective, a geometric model, kaleidoscopic, “click”. We lean together with the device towards the right, stop, beholding again an extremity proposed in a new form, this time the blue points of the window, “click”. In this same rhythm, turned to a new focus of the camera and the sound of the shutter, follows a similar image, until, in still number 5, appears before our eyes a golden, multifaceted image. Thus could begin the cinematographic tale of the artist Thomas Kellner and his creative process of his 2007 Dom Bosco Sanctuary piece.

~ Stefanie Scheit Koppitz M.A. in Brasilia 50 years of a utopia