Commentabandoned the camera altogether and began creating photographic works with purely visual means, inspired by Constructivism and László Moholy-Nagy's concept of "pure light design" of the 1920s. He also forsook the abstraction of reality and turned his attention to "concretions of the artistic possibilities inherent in photography" (Gottfried Jäger), and thus to images that resulted exclusively from the elements inherent in photography, light, and light-sensitive material.
René Mächler abandoned the camera altogether and began creating photographic works with purely visual means, inspired by Constructivism and László Moholy-Nagy's concept of "pure light design" of the 1920s. He also forsook the abstraction of reality and turned his attention to "concretions of the artistic possibilities inherent in photography" (Gottfried Jäger), and thus to images that resulted exclusively from the elements inherent in photography, light, and light-sensitive material.
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Finally, he abandoned the camera altogether and began creating photographic works with purely visual means, inspired by Constructivism and László Moholy-Nagy's concept of "pure light design" of the 1920s. He also forsook the abstraction of reality and turned his attention to "concretions of the artistic possibilities inherent in photography" (Gottfried Jäger), and thus to images that resulted exclusively from the elements inherent in photography, light, and light-sensitive material.
abandoned the camera altogether and began creating photographic works with purely visual means, inspired by Constructivism and László Moholy-Nagy's concept of "pure light design" of the 1920s. He also forsook the abstraction of reality and turned his attention to "concretions of the artistic possibilities inherent in photography" (Gottfried Jäger), and thus to images that resulted exclusively from the elements inherent in photography, light, and light-sensitive material.
Finally, he abandoned the camera altogether and began creating photographic works with purely visual means, inspired by Constructivism and László Moholy-Nagy's concept of "pure light design" of the 1920s. He also forsook the abstraction of reality and turned his attention to "concretions of the artistic possibilities inherent in photography" (Gottfried Jäger), and thus to images that resulted exclusively from the elements inherent in photography, light, and light-sensitive material.
