Vera Lutter….

Vera Lutter practices photography in its elementary form and in an extremely artificial manner.  She works with the original principles of the light drawn image.  She sets up large wooden boxes to capture the light or uses entire rooms as her cameras.  She covers the windows in black plastic, cuts a tiny hole in the centre of this and thus exposes the photo paper hung on the opposite wall – sometimes for hours, often days and even weeks.  the pictures become originals created without a negative. There are no tricks, no retouching, her work simply documents the fall of light which inscribes itself in the pictures as areas of darkness.

The photos depict a ghostly counter-world of city views, airports, docks and factories.  It is an uneasy, silent world, without people, leaving the impression of condensed, suspended time.

Lutters work holds relevance with regards to my own practice.  Not just for her subject matter, as she too is preoccupied with the more ominous products of modern society, yet in addition to this she utilises the process of time to create her work.  By using time and light in this way her photos become evidence of the events that shaped it.


There are parallels in this process to the way in which the motorways identity is shaped, which is by the accumulation of events that we collectively impact upon it.  Every event that occurs within this landscape originates from an individuals act of journey through it.  Even if our impact upon the motorway is as subtle as the exhaust fumes from our cars slowly staining the undersides of the bypasses that support the roads above it, we still affect it. 


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April 2008
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