Ricarda Roggan, born (1972) in Dresden and living in Leipzig, is one of the most important photographers in the young generation of German artists. Her photographic series of works highlights the interaction between austere precision and quiet enchantment. Nothing is left out in the worlds created by her images, every inconsequentiality is carefully planned out.
Furniture and interior spaces, such as roof timbers or air ducts, naturally appearing objects such as clouds, forest and rock formations as well as arranged technological artefacts such as old slot machines or demolished cars, are some of the main themes in the work of the photographer, who shoots exclusively in analogue. Roggen conveys these motifs through the means of subtle staging and precise crops of photographic work, which manage to escape any sense of a concrete location. At the same time she is successful in developing constallations in which the objects create a silent, impactful presence and are immediately recognized as her distinctive style. In Roggan’s photography sparsely lit wooden attics contrast curiously set up beauty, or partially shown extracts of a forest produce an almost impenetrable density, in which the specifics of the floral forms emerge. At the same time, the world in her images moves between the poles of the real and the artificial.
Roggan puts reality under the spotlight through constant meticulous preperation of the objects and careful editing of the surroundings. Similar to in archaeology, layer after layer of surface marks are removed, dust is added or taken away, minimalistic presentation spaces are built or forest foliages is simply cut down. Contrasting the prescisely emphasized and lit up surafces in the forground with the vague backgrounds, the worlds in Roggan’s images possess an unexpected sculptural quality. Partially lit cars from accidents on a jet black, dimensionless background gain anthropomorphic traints, or close ups of amusement park games appear as deistinctive aftefacts with a painted quality. Ricarda Roggan’s impressive photos create a productive, unsettling power, which makes the specialness of the everday, inconsequental and the invisible visible in the process of vision, perception and recognizition.