Christopher Muller

1966 born in Stade
lives and works in Stade

1984-1985 Chamberwell School of Arts Crafts, London

1985-1989 Slade School of Fine Arts, arts studies with Bruce McLean and Tess Jaray 

1991-1993 visiting student at the Staatliche Kunstakademie (State Academy of Art) Düsseldorf, class of Edgar Callahan

1995 grant of the Kunstfonds Bonn e.V. (Arts Fund Bonn

2000 art prize of the city gallery Nordhorn

Christopher Muller on his still life photography: "Although the individual photographed objects are all instantly recognizable, the arrangement as a whole does not correspond to an immediately recognizable situation. This artificiality implies intentionality and differentiated looking. The viewer becomes the focus for the concentrated observations of the camera. A non-linear, pictorially complex composition based on formal characteristics and associations suggests a possible structural interpretation of the picture but there is no easily identifiable hierarchical pattern of perception and understanding. The relative simplicity of the object’s design makes it possible to establish clear formal correspondences, and the object’s lack of symbolic significance allows the viewer greater freedom to make associations of his own. The convincing illusionism of photography and the neutrality of the photograph’s surface foster dialogue between the viewer and the objects.

Neither the practical, everyday nor the aesthetic reading can be sustained for long before the one inevitably shifts into the other. In the search for structural content, the photographed objects seem to dissolve into their constituent formal characteristics. Alternatively, no matter how significant a chair, with its specific formal qualities, may be within the composition, it may always also be perceived as a potential place to sit down. These shifts sensitise and refine our perceptions of the objects. The viewing process reflects moments of self-awareness – as emotional content is inevitably linked to the responses and projections of the viewer."

from: The Measure of All Things: On the Relationship between Photography and Objects

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