Sascha Herrmann utilizes the weather as an author, exploring representations of well known weather phenomena with different practices of photographic imaging. This concept refers to the close relationship between earliest experimental photography and the first empirically motivated, meteorological studies.
Sascha Herrmann, born 1982 in Berlin, finished his studies of Photography at Hochschule für Grafik und Buchkunst in Leipzig in the class of Peter Piller. He has studied in the classes of Christopher Williams at the Kunstakademie Düsseldorf and Aglaia Konrad at Luca Arts, Brussels. His work describes the perceptual simulacrum between the disciplines of meteorology and photography while relating the viewer to present experience. Sascha Herrmann lives and works in Berlin.
On Glimmer ⁞
One must call Sascha Hermann a scientific artist. He works on what we readily refer to as “natural processes”. He weighs epistemic and methodological assumptions, selects a suitable approach from the broad spectrum of photographic procedures and presents results in the aim to make the “thing in itself” understandable. But if one looks more closely, one notices that it’s actually about something else, about something one would like to call the “thing for us” and which, like a shimmer in the dark, is as melancholic as it is encouraging. The theoretical basis of his artistic approach consists in a kind of rapid history test of the Great Project of Science: by establishing a direct link between the cancellation of subjectivity in the scientific claim to truth, on the one hand, and the recovery of subjectivity in the will to aesthetic truthfulness, on the other. While aiming at a formally and technically faithful representation, he radically flips the factual into the sublime. Here, at this pivot, the subject that had previously been methodologically deleted reappears, yet in a new consciousness: just as alien to the thing as it is to itself. Now we see that determining the thing amounts to determining the subject. This two-sided movement corresponds to the reciprocal dependence of science and art in the collaborative work on the idea as something natural. Though their inner kinship has always been a commonplace, the task of working out and adequately representing their fine differences has remained a field for the specialist. At the centre of the exhibition Glimmer is a series of spectral-analytic photographs of illuminated stones. A combination of microscopy techniques, photographic contact prints and short- and longwave UV light makes visible the rocks’ refractive properties, for instance, their opalescence and fluorescence. Some of these properties are named after the rocks on which these properties were observed, and, conversely, some rocks are named after the particular light properties that these rocks exhibit. – Oh, rocks . . . one would like to invoke whole libraries of scientific-technical and magical-poetic knowledge. Here, when they hover before us as light, we attribute the glimmer of our subjectivity to the thing itself, making our glimmer into the glimmer of the rocks.