What Jean Baudrillard once described as the purpose of the photographic image - to remember in the "silence" of the object when it is removed from the "anaesthetising context of the real world", in other words when it is designed - hardly plays a role any more. In the age of its unlimited availability, photography is falling back to the status of its beginnings, when it was still understood as authentication, as reflection, as proof.
This is where Ludwig Rauch comes in, with the promise of reality that photography offers. By transposing nature into the subjunctive, he creates images of nature - as it could be, as we would like to see it, as it never was, as it may soon no longer be. Rauch's pictures are photographs, but they are also fiction. They are stories of a world without us, full of beauty, contradiction, symbiosis, wondrous forms and seeming inexhaustibility. Rauch's paintings show us what we will lose, not only of reality, but also of our minds and souls. "Limited Supply Only" says just that.
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