Michael Reisch


Michael Reisch: new work 2020, 18/

Digital photo of an intentionally "failed 3D-print" of one of my generated objects, I prevent the 3D-printer to work and print the object correctly, the photograph shows the "failprinted" object original size, more coming soon

Right: prototype, digital merge of Kunstverein Essen-Ruhr, architectural model with generated objects, 3D-printed and photographed

... His work is consequently not just about taking photos and producing pictures, but rather resembles the laboratory experiments of a scientist or researcher examining the conditions of the formation of images and exploring them again and again. Lately, his art resembles an experimental system: an arrangement aiming not so much for the perfect image as a result, but for an open-ended process in which image generating processes come into play and at the same time are reflexively critically examined. In this sense, Reisch radically expands the boundaries of the medium of photography. And the results are amazing and highly irritating at the same time.Reisch initially assumes that our confidence in a picture as an image still exists, but he ventures a step further. His work begins cameraless and without a connecting point in the real world, then, with the help of the computer, he digitally generates structures that appear to be representational, what any better graphics program can do forms this basis. For example, lines, black-and-white patterns, light-dark gradients and checkerboard or staircase-like graphic structures are generated and stored as 2-dimensional images.But then newer methods and their associated algorithms are used which "materialise" these graphic presets, i.e. using CAD programs to recreate them and then print them as three-dimensional "sculptures". Such a technology is capable of doing so because its algorithms are programmed to spatially read and interpret two-dimensional edge curves between a black and a white surface. In other words, where the graphics program has effortlessly created an alternating black and white grey stripe pattern, the program begins to “interpret” the whole in three dimensions, to understand it, for example, as a staircase, and as such to print it physically. In this way, three-dimensional “entities” emerge that have no equivalents outside themselves ...

 

 

text / extract Peter Friese

new works 15/, 2014-2016+: I digitally generate interferences in a conventional 2D photo-editing program until an impression of „something being there“ occurs. This „claim of objecthood“ is due to an optical illusion and based on the digital operative substructure, the algorithm only, no depictive photographic action or digital 3D-modeling involved.

 

Present Progressive, Exhibition Felix Ringel Galerie, Düsseldorf, February/March 2018

working group 14/, 2012 - 2014: I digitally generate interferences in a conventional 2D photo-editing program until an impression of „something being there“ occurs. This „claim of objecthood“ is due to an optical illusion and based on the digital operative substructure, the algorithm only, no depictive photographic action or digital 3D-modeling involved.

 

Text: Realität als Funktion des Codes - Gegenständlichkeit und Abstraktion für die Fotografie unter digitalen Bedingungen/ Reality as a Function of Code - Photographic Representation and Abstraction in the Digital Realm, Michael Reisch, April 2016

 

Installation Views, Solo Exhibition, "Selected Works 2008-2013", Museum Kurhaus Kleve, Germany, 2013

 

working group 8/, 2010 - 2013: Developed from a photographic context, working group 8/ is created cameraless without any reference in the physical, „photographable“ world. Using a common tool of a conventional 2D photo-editing program I digitally generate gradients, “depicting” the programs tool.