‘I take pictures, in order to see the world.’


Wolfgang Tillmans.


Fine Art Photographer.

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A diverse body of photographic work revolving around the observation of surroundings and an ongoing investigation of photography as a medium and the different way it can be used manipulated and applied. Motivation is equally both aesthetic qualities and political interests. The search for reality and truth.


  • Photographs in different sizes and formats to create meticulous wall installations, a combination of photocopies and magazine clippings, pinned or taped to walls. Some unframed, framed. Colour placed next to monochrome.
  • Nonhierarchical arrangement.
  • The exhibition space is viewed as a ‘sight specific installation’- the space is part of the larger composition.
  • An equality of all motifs- supported through continual re-arranging, repositioning and questioning.

  • The avoidance of ascribing a ‘conclusion’ to his work- allows re-contextualisation for each viewer.

"Completely turning onto its head the psychology of photography, which has always been a dialogue between photographer, object and the imaginary image which one is envisioning, thinking, hoping for."



  • A combination of pure aesthetic and concept.
  • Compositional value- the thought behind even the layout of the exhibition space is intriguing- everything works together to create an experience for the audience. How can I think about doing this?
  • Using photographic processes as a techniques in itself. Photocopying, enlarging, natural ink stains, errors in process.
 I don't mean it as everything is the same, but that everything has the potential to be something, and that one should not close one's eyes, just because we have preformed ideas about a value system – this is higher, this is lower. One shouldn't use it in reverse, as 'anything goes'.


Freischwimmer   (2004)

Freischwimmer (2004)

'He had already started to slow down, to concentrate on abstract work. These images have taken on a spectacular and seductive presence in his installations, enlarged into enormous inkjet prints, pinned to the wall or framed, like the works of a latter-day abstract expressionist. He nods at the comparison, but denies any attempt to make surrogate paintings: "I'm trying to make a picture that could only be made now." Urgency III (2006) is a predominantly crimson burst of colour that suggests the dispersal of ink or paint or blood into a swirl of water. In Freischwimmer (2004), thin skeins of colour drift and curve, misting into dense clouds of pigment before unravelling and dissolving across the surface of the image.' - Liz Jobey, The Guardian, 2010.


Urgency XV    (2006)

Urgency XV (2006)

An exploration of photography as a medium in his “paper drop” series (2001–8). Tillmans started to make ‘paper drop’ images depicting photographic paper specifically exposed to coloured light in his darkroom. He creates extraordinary sculptural forms in photographic paper, then by photographing them returns them to the accustomed flatness of that same medium.