Michael Reisch: working-process 17/
In a camera-less process, Michael Reisch first generates black and white lines and curves from within a chosen computer software programme. Optical illusions occur so that images become recognisable as things – with a layered, stratified or folded character, for example. These generated „entities“ (which in the true sense are illusions) are then “materialized“ - i.e. recreated using computer-aided design (CAD) programs and 3D-printed as „real objects“. Finally they are photographed in the photo studio. Reisch takes photographs of „motifs“ that in some way do exist - since they are 3D-printed and exist in material form - and that in turn “do not exist“ - since they are based on optical illusion and have no starting point in the „real world“. In doing so, he reverses the conventional direction of „photography“, which normally passes from existing facts to information and data (photos). In Reisch‘s works, immaterial data and algorithms are generated to factual and thus „photographable“ objects and again „transformed“ into data (photos) and images, whereby amongst others questions about the relationship reality-virtuality, presence-absence are posed.
Press-release exhibition "Photon | Icon", 2019
... His work is consequently not just about taking photos and producing pictures, but rather resembles the laboratory experiments of a scientist or researcher examining the conditions of the formation of images and exploring them again and again. Lately, his art resembles an experimental system: an arrangement aiming not so much for the perfect image as a result, but for an open-ended process in which image generating processes come into play and at the same time are reflexively critically examined. In this sense, Reisch radically expands the boundaries of the medium of photography. And the results are amazing and highly irritating at the same time.Reisch initially assumes that our confidence in a picture as an image still exists, but he ventures a step further. His work begins cameraless and without a connecting point in the real world, then, with the help of the computer, he digitally generates structures that appear to be representational, what any better graphics program can do forms this basis. For example, lines, black-and-white patterns, light-dark gradients and checkerboard or staircase-like graphic structures are generated and stored as 2-dimensional images.But then newer methods and their associated algorithms are used which "materialise" these graphic presets, i.e. using CAD programs to recreate them and then print them as three-dimensional "sculptures". Such a technology is capable of doing so because its algorithms are programmed to spatially read and interpret two-dimensional edge curves between a black and a white surface. In other words, where the graphics program has effortlessly created an alternating black and white grey stripe pattern, the program begins to “interpret” the whole in three dimensions, to understand it, for example, as a staircase, and as such to print it physically. In this way, three-dimensional “entities” emerge that have no equivalents outside themselves ...
text / extract Peter Friese
founding of artist-group, 2019+: darktaxa-project
darktaxa-project is an international artist-group (Berlin, Düsseldorf, Cologne, New York, London). darktaxa-project works at the interface of photography to new digital imaging techniques (Digital Imaging), e.g. Computer Generated Imagery (CGI), photogrammetry, digital photography and digital image editing, scanography, augmented reality, 3D printing, motion capture, artificial intelligence and other digital tools. darktaxa-project developed from a project initiated by Michael Reisch at the beginning of 2019.
participating artists 1-2020:
Banz & Bowinkel, Julius Brauckmann, Arno Beck, Ralf Brueck, Raphael Brunk, Philipp Goldbach, Alex Grein, Beate Gütschow, Florian Kuhlmann, Achim Mohné, Susan Morris, Johannes Post, Michael Reisch, Anna Ridler, Ria Patricia Röder, Aaron Scheer, Björn Siebert, David Young
new works 15/, 2014-2016+: I digitally generate interferences in a conventional 2D photo-editing program until an impression of „something being there“ occurs. This „claim of objecthood“ is due to an optical illusion and based on the digital operative substructure, the algorithm only, no depictive photographic action or digital 3D-modeling involved.
Present Progressive, Exhibition Felix Ringel Galerie, Düsseldorf, February/March 2018
working group 14/, 2012 - 2014: I digitally generate interferences in a conventional 2D photo-editing program until an impression of „something being there“ occurs. This „claim of objecthood“ is due to an optical illusion and based on the digital operative substructure, the algorithm only, no depictive photographic action or digital 3D-modeling involved.
Text: Realität als Funktion des Codes - Gegenständlichkeit und Abstraktion für die Fotografie unter digitalen Bedingungen/ Reality as a Function of Code - Photographic Representation and Abstraction in the Digital Realm, Michael Reisch, April 2016
Installation Views, Solo Exhibition, "Selected Works 2008-2013", Museum Kurhaus Kleve, Germany, 2013
working group 8/, 2010 - 2013: Developed from a photographic context, working group 8/ is created cameraless without any reference in the physical, „photographable“ world. Using a common tool of a conventional 2D photo-editing program I digitally generate gradients, “depicting” the programs tool.