Photograph on paper

Signed on the front.

The KRAUTROCK series formally and conceptually follows on from the previous long-term series 'document|monument'.
Formally, the images are composed of found remnants of local micro-wildlife; insects, feathers, bones, seeds and other plant matter.
After the focus on the creature/s and/or species, environmental and ecological concerns, and after the restraint of individual input and personal signs of expression in document|monument, KRAUTROCK regards the subject matter as entirely allegorical, evoking meaning along tangents suggested by the musical titles, and loading the arrangements with suggested story lines.

Using the flatbed scanner as camera to record the 'traditional' tableaux compositions, I manipulate the calibration mechanism of the scanner's transparency unit [vertical stripes/colours], and change the external light source[s] during the exposure/scan [horizontal stripes/colours].
The manipulation of the calibration results in unpredictable colours and at times recompiles the image, overlaying, omitting and distorting parts. It also creates a complex interplay of transparency and opacity, interacting with the different physical qualities of the subject matter.
(No image editing software filters or effects have been used to achieve colours or effects)

This methodology somewhat visually reflects, or echoes in the definition of
'Krautrock: also known as 'Kosmische Musik',...generic name for the experimental music scene that appeared in Germany in the late 1960s and gained popularity throughout the 1970s, especially in Britain.' (Wikipedia)

Though most of the music I reference in the work's titles is not 'original' 'Krautrock', it shares a similar approach regarding electronic and general experimentation as well as conceptual depth of content: Challenging mainstream conditioning and trying to increase personal and collective awareness on multiple levels.
KRAUTROCK pays homage to the music which initiated me into 'my culture', shaped my cosmology, and through it's ideas, concepts and feelings triggered, was and still is as influential on my arts practice, as my social conditioning and my physical environment.
This series is dedicated to my late friend and brother Skunk, Detlev Oltersdorf, who introduced me to most of this music.

The works are titled "song title + project/band name", choosing tracks and bands that mark a relevant point in my personal development, or mythology, are conceptual landmarks in my psyche and/or visually relate to the images.
For the KRAUTROCK exhibition at the Queensland Centre of Photography each work was accompanied by an mp3-player containing the music of the work's title, so viewers could listen and look simultaneously.

LAIBACH is the prominent and enduring chapter and exponent of NSK, Neue Slovenische Kunst. Their conceptual depth and breadth, complexity, deadpan humour and undermining of simplistic mass psychology are unsurpassed after 4 decades of audio-visual and conceptual creative output. This work is named after two tracks off their 1992 Album 'Kapital':
'Kinderreich' (having two meanings: 1. ‘having many children’; 2. 'empire of [the] children') and
'Regime of Co-incidence, State of Gravity'.
The insect in the triptych is a 'Kinder stick insect'.

There are a number of additional works ('Emperia [Current 93] I, II +III') which use both, the Kinder stick insect, as well as relating to similar ideas and ...currents.