The Artist’s Studio as Encryption Lab

The Partial Devastation of the Lower East Side Through Man-made and Natural Disasters

Date: 2021 

Dimension: 43 x 64 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA

A door stays standing amidst the mounds presiding over a few linoleum tiles, a brass door knob and a half-buried sash window, remnants of our Ludlow Street apartment. Lenin still resides on top of a Norfolk Street tenement, unfazed and now with an unobstructed view towards Wall Street.

The Artist’s Studio as Encryption Lab

Bringing Things to a Standstill  

Date: 2010  

Dimension: 43 x 64 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA

The stage in this 2010 rendition of «The Artist's Studio as Encryption Lab: Bringing Things to a Standstill» is  my own  kitchen.  The motive is the laser cooling method of physicist William Daniel Phillips, in which atoms are cooled and trapped with laser light. Phillips won the Nobel Prize for his development in 1997.  The optical set-up for laser light to achieve this usually takes the size of a dining table or - a bathtub, as in my virtual reconstruction of this experiment within my own four walls. In search of an unusual perspective on the scene, I finally positioned the camera in the brass cylinder of the door peephole. As a result of this point of view, the kitchen and its inventory, for example the blue airship, appear turned upside down

The Artist’s Studio as Encryption Lab

The Early Morning Redness in the East  

Date: 2010  

Dimension: 43 x 64 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA

«The Early Morning Redness in the East» re-images my living room: the Gulf of Naples with the erupting Vesuvius and a hat in the middle ground. The scene is framed by the mural texture of Genoa Cathedral.  

The hat is inspired by a photograph of plant hunter Frank N. Meyer (1875-1918). The 1917 image shows his fedora hat in front of a wild callus pear tree. Frank N. Meyer often placed his hat next to exotic plants in photographs to give an idea of their size.  Meyer collected resistant plant species in China for the United States Department of Agriculture. He died in the Yangtze River, whether by accident, suicide or murder remains unclear. 

My friend Dieter Froese, the video artist who died in 2006, liked to wear such hats. The memory of Dieter and the mystery surrounding the death of the plant hunter flowed into the 2010 computer-generated image.

The Artist’s Studio as Encryption Lab

Answerable Questions and Questionable Answers from the Fly's Visual System - Sudden Apparition of a Small Black Hole  

Date: 2010  

Dimension: 43 x 31 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA2

The Artist’s Studio as Encryption Lab

Answerable Questions and Questionable Answers from the Fly's Visual System  

Date: 2003  

Dimension:43 x 31 inch 

Technique: pigment ink on fine art paper  

Private collection

The Artist’s Studio as Encryption Lab

Answerable Questions and Questionable Answers from the Tree's Visual System - Photosynthesis 01  

Date: 2001  

Dimension: 33 x 16 inch  

Technique: pigment ink on fine art paper  

Private collection

The Artist’s Studio as Encryption Lab

The Elements 

Date: 1999  

Dimension: 43 x 31 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA

The Artist’s Studio as Encryption Lab

Prehistory  

Date: 1999  

Dimension: 24 x 16 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA3

The Artist’s Studio as Encryption Lab

Optical Instruments  

Date: 1999  

Dimension: 24   x 16 inch  

Technique: pigment ink on fine art paper

Edition: 7 + 1 EA

The Artist’s Studio as Encryption Lab

First Glimpse  

Date: 1999  

Dimension: 21.5 x 15.5 inch  

Technique: pigment ink on fine art paper  

Edition: 7 + 1 EA3

The Artist’s Studio as Encryption Lab

Still with my Spirit Daughter on 174 Ludlow Street, NYC

Date: 1995/2009  

Dimension: 21.6 x 40 inch  

Technique: pigment ink on fine art paper 

 Edition 7 + 1 EA   

The Artist’s Studio as Encryption Lab

Anna's Cabinet of Astromagick on Zelazna and Grzybowska - revisited  

Date: 1996/2007 

Dimension: 11 x 40 inch  

Technique: pigment ink on fine art paper  

Private Collection   

The Artist’s Studio as Encryption Lab

Modern Version of the 1887 Michelson Morley Experiment, the Light Slowed down to 30 cm /sec.

Date: 1996

Dimension: 17 x 30 inch  

Technique: pigment ink on fine art paper 

 Edition 7 +  2 EA  

The Artist’s Studio as Encryption Lab

Anna's Cabinet of Astromagick on Zelazna and Grzybowska #1  

Date: 1996  

Dimension: 11 x 40 inch  

Technique: pigment ink on fine art paper  

Photostiftung Kunstmuseum Bern/CH