Artist: Klaus-Martin Gareis
Title: “Finkensame – Neslia paniculata”
Paper: Awagami Hakuho Editioning 220gr/m2, 43 × 52 cm
Medium: Piezography® Pro
Red dot design award frame: 47.5 × 56.5 cm
Material: White Wood-KR | profile 13/28
Distance: 10 mm, White
Glass: Anti-reflective museum art glass
First edition of 7 + 2AP, Zürich
Numbered and signed by the artist
Continuing the series Das unKraut, “What Remains” is a series that has been taken during winter 2018 and shows weeds at a time when their life cycle comes to an end or is about to start again.
Weeds today are colloquially referred to as plants that usually spread wildly and unintentionally in large numbers. Rarely enough do we concern ourselves with the possible benefits of these plants. Most of the time we don’t like the fact that these plants conquer our garden, that they are prickly or sticky and we try to remove them.
The works “Das unKraut” and as well now “What Remains” attempt a pictorial approach to its essence and portrays at different times of year a number of these plants that are native to Switzerland. The sculptural way of depiction emphasizes the fragile beauty of these plants and takes away the UN-desired and UN-loved from the unKraut.
Klaus-Martin Gareis is an autodidactic photographer. In 2004 he started experimenting with analogue equipment and development procedures and over the years created his own work process including oil colour to create unique large scale works.
While the photography itself always stands for the beginning of a complex process towards and finished work, the main goal for each sujet is to find its own metaphorical language, emphasizing each photography uniquely.
Over several years KM has explored the so called alternative development processes for analogue photography. Several promising processes are hardly to manage any longer these days like some of the Bromoil Prints you find in the Objects section. The now settled procedure is based on Lith and Polychrom Developers used in a form to produce rather erroneous and chaotically results instead of exact and accurate prints. Using in some cases old and long expired photographic paper, the combination by itself results already in a kind of unpredictable print.
Klaus-Martin Gareis (*1968 / Germany)