ACKER.

In the ACKER series, I am less interested in making the technological intervention of humans into nature visible or in making a statement about what agriculture feels like in the 21st century. Rather, the fields serve as a point of departure—as an existing, already shaped surface that I use to reveal structures, planes, and rhythms. What interests me is not the motif in the classical sense, but what lies beneath it: order, repetition, density, and subtle shifts. The camera position is deliberately kept low, as is the slight tilt of the camera itself. Combined with the wide-angle lens, this creates a spatial distortion that pulls the surface forward, causing it to tilt, spread outward, and become almost physical. The panoramic format further reinforces this impression—stretching the landscape horizontally while simultaneously reducing it to a kind of visual field. The sky remains within the image, though not as a narrative element. Instead, it functions as a counter-surface—calm, bright, restrained—stand.