A dimension of time develops, similar to that found primarily in musical compositions, from the interaction between the composition process, the formal structure and the viewer's perception for whom the inextricable connection between the images becomes accessible through the contact print. Julia Kneppe Thomas Kellner received his first camera at the age of four. During his studies of art and social sciences in Siegen/Germany, the artist, who was born in Bonn in 1966 chose to major in photography instead of painting. At the beginning of his career as part of his study program, Kellner was confronted with the pinhole camera in various projects. After his studies, he created a new, up to then unique visual language. The desire arose within him to distance himself from documentary photography, to reinvent the photographic image and to develop his own unique visual language. Since 1997, Thomas Kellner has concentrated on architecture and interior spaces. In his images, Kellner relinquishes the usual rules of composition, the relationships between proportions and the restrictions of shapes. For the representation of a unified whole, Kellner shoots countless details of a structure, i.e. fragments which he arranges playfully, thereby allowing the building in the image to dance and sway.
Similar to the eye of the viewer, his camera moves over the whole structure, takes in individual details and reassembles them. Agnes Reschka.