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Zeller's cityscapes, photographed
at night with long exposures, evoke artificial moods, which had remained
invisible even to the keen eyes of an attentive observer. The artificiality
of the man-mode environment finds its direct counterpart in the artificiality
of the end product, the photograph, which the photographer can intentionally
influence but not foresee in all its minute details. The resulting "false"
vividness is one of the chemical Iaboratory and allows only remote associations
with neon light and the real atmosphere of a big city. Devoid of any human
presence, the pictures seem frozen in their dream-like constellations, which
represent the relics of human existence after it will have vanished completely
from this planet. Thus they not only become metaphors of transitoriness,
hut also moments of "time-out", moments of reflections upon the
manifestation of technical civilization. |
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