Starting point of this series is a private photo archive containing slides from travels of a German pastor. With almost scientific exactness, she took notes of the technical details of each photo and added a brief description serving the identification of the respective images.
“... Daniela Friebel constructs her own archive, which searches for the system and intention of the photographer, and thereby the general relationship between word and image, examined through projection and perception. She filters, selects and adds the photos to a new system of word, meaning, motive and composiotion.”
(Babette Richter)
Babette Richter
Seeing is like the keys of a blind man who touches an object with his sticks and receives signals in his brain, said René Descartes. In 1692 he carried out an experiment with an eye (he used the eye of a dead ox): pupil, eye and inner skin acted as a black hole, and the inner glass wall of the camera obscura.
Nevertheless is shows us the outside world as an internal projection. Perception is directly connected to the thought process, so more or less instinctively, we first put together the geometry and physics of the image in our head, using abstract and logical thought processes. The viewer is essentially blind, their senses distributed, and forced to trust their imagination and faith.
Daniela Friebel uses a foreign photo archive in her exhibition ‚Projektion/ Brasilianische Reise’. Using over 700 travel photographs from a pastor, she constructed her own archive, which searches for the system and intention of the photographer, and thereby the general relationship between word and image, examined through projection and perception. She filters, selects and adds the photos to a new system of word, meaning, motive and composition.
The scientific method of the pastor – with which shie documented her journey – how she used two cameras to capture the view from various perspectives and different viewpoints, and how shie meiculously logged this in the finest detail, fascinated Daniela Friebel.
Perception of the world is a changing, filtering and subjective view. What we perceive is only the projection and construction of reality, and the eye (the camera obscura, or projector), which projects upside down, downsized, fanned out, and thus from their reality (accuracy) dissolves and scatters into many different levels. Friebel does the same with her thread work, which she places opposite the photo series. She plays whith perspective and the construction method of the anamorphosis, calculates and builds the illusion of space and is characterized by the perception of reality.
