In 'Machair-Maiden' Aust focuses on botanical details of the landscape in the Outer Hebrides. Machair is the Gaelic word for the very fertile coastal soil of the Scottish Western Isles. A particular technique in his photography brings to the fore details of the lush and species-rich vegetation.
Let the mystical images have an effect on you and you will be able to perceive movement.
Scapa is underwater photography, taken in the bays of Scapa Flow.
After scuttling in 1919 and scrapping over the years, the rest of the German WWI Fleet is resting on the sea bottom of Scapa Flow. There are still seven of the original 74 ships in place. For me in the moment of taking the pictures: A true memorial for peace.
Scapa VII was awarded the Apache Prize by the Aberdeen Artists Society in February 2018.
'Scapa' was released as Edition with 6 copies each.
It all is about looking, recognizing and allowing viewpoints and perspectives. Observe and accept different kinds of views and you will realize.
On knees and elbows over cobblestones crawling arises THE Photo - physically uncomfortable is the search for perspective, light direction and section. The idea of what is below the motifs is just as uncomfortable as the stench they often exude. A part of the topic: 'What lies beneath?'
The processing of the material is part of the artistic process and compresses the statement. I put accents by contrast, color enhancement or conversion to Black / White - motifs are never arranged.
'manhole covers' are unique, a few works are available as edition.
,nightclouds' are created in full moon nights. The mystique of volatile cloud formations represent a unique momentum. In these fleeting moments I uncover the heavenly change.
The viewer is free to float his thoughts, his feelings and to make them dance to grant his soul the freedom to write their aspirations in the firmament.
Whether harmonious, whether threatening, everything is in motion - forever. Not only the clouds renew with every blink of the eye, even the seemingly stagnant moon is changing every second.
To gain I use blur by choosing long exposure times.
'night clouds' are entirely unique works.
'emotionalien' (emotional objects) put dogmas into question. I lead seemingly incontrovertible standards into absurdity, as I 'dishonor' the materials, paper industry certifies to be inviolable sanctuary, by applying natural fluids prior to merging the actual scene with the paper.
Some of the images are complemented with a vial containing the remaining emulsion - as a relic belonging to the work. Partially daring associations to life are desired.
The combination of digital and analog world forms the 'either-or' to a flowing 'as-well-as'. The one goes in the other. The subject of the digital data is materialized by the analog applied perturbation and directly related to the subject as a unique symbiosis.
'emotionalien' are exclusively unique.
Losses and separations trigger uncertainties. The drifting of apparent stability and the breakup of structures and entanglements confronts with primal fears.
In 'moving lights' I experiment with different forms of blurring. The deliberately wrong set blur ends in a free fall. Not knowing where to go is associated with locomotion. And so lead focus and motion blur in direct light painting.
In this project I as well do not give a ready interpretation. I encourage the viewer, his feelings and emotions to run wild, so own pictures may come up to tell their stories.
The central shaping factor in 'blue emotions' is always an image that receives its dynamic by rearrangement of color information.
The artificial and unnatural representation makes the images seem strange and surreal. Contrast media content and color gives the viewer an excursion into separate spheres - beyond external assessment and evaluation.
Aside from the formal and categorizing thinking, the need for clarity in the distance affects initially balancing, calming and moderating. However, despite the apparent harmony, sympathy and satisfaction a desire remains open / unsatisfied.