Greta Schnall
Your work often transforms everyday architecture into fantastical images. Could you elaborate on how you conceptualize these transformations? What is your process for choosing which elements to exaggerate or modify in your digital processing?
-I look for attractive graphic constellations on facades, clear, preferably symmetrical elements. These preferably have modern residential, office or industrial buildings.
You've mentioned that cubism and surrealism significantly influence your work. How do these movements inspire your approach to architectural photography, and how do you integrate their principles into your digital compositions?
-I usually have possible cubistic shapes in my mind's eye when I take photos. A certain surrealistic touch is often created through special color and texture combinations and the mobility in the image.
Digital image processing is central to your art. Could you describe some of the key techniques and tools you use? How have these techniques evolved since you started?
-My procedure is secret. I can say this much: I use several editing programs in a certain order. I try to constantly develop my way of working by always trying to vary the individual steps.
As you blend elements of cubism, surrealism, and architecture, do you find that these transformations challenge the viewer’s perception of architectural integrity, or do they serve to enhance a deeper appreciation of the structures you depict?
-First of all, the viewer should have a so-called "aha experience". After looking at them for a while, it should become clear to him that these are actually real buildings.
The combination of these elements should give the artwork absolute originality in its creation, style and individual expression. At the same time, this combination should make the viewer realize that even the simplest buildings can be designed in an exciting way in the mind with enough imagination, so this is therefore also possible in most other areas of life and can often even be implemented in the reality.
Your artwork often shifts mundane architectural forms into realms of fantasy and inspiration. What message or feeling do you aim to evoke in your audience with these transformations?
-My message is that imagination can do so much. based on the quote by Albert Einstein: “Imagination is more important than knowledge, because knowledge is limited.” For example, I try to use my imagination to transform simple, often cold and depressing buildings into an exciting, lively and often inspiring object.
From initial photograph to final image, can you walk us through your typical workflow? How much planning goes into each shot before you take it, and how much is discovered during digital processing?
-First I look for suitable landscapes or buildings that I immediately notice will develop well when I work on them. Then the circumstances must still be favorable, e.g. weather, time of day, the amount of traffic in the area, the environment itself..
Digital processing then reveals how suitable the objects really are. Material that seems good at first glance is sometimes difficult to process and vice versa.
Having lived near Lake Chiemsee in Chiemgau for many years, how has this environment influenced your artistic vision, especially in your nature and landscape photography?
- Especially because of the large number of lakes in the area, which usually offer a smooth, wide surface, I was able and can work with clear lines and levels when depicting nature, similar to architectural photography. My main aspect here is the photographic and/or image-edited impression of perspective breadth.
With continuous advancements in digital technology and software, how do you see your digital processing techniques changing or improving in the future?
-I think that there will be more and better opportunities to make my works even more individual, lively and moving. I also hope to be able to combine various topics into one work soon.
You've participated in numerous international exhibitions. How have these experiences influenced your professional and creative development? Is there a particular exhibition that stands out to you, and why?
-The exhibition of the finalists of the 14th Arte Laguna Prize in the arsenals of Venice in Italy. Above all, this experience of being among the 120 finalists out of 10.113 participants gave me a great boost for my artistic work and motivation. my finalist work here was "White City".
With your extensive experience in digital photography and image processing, what advice would you give to emerging artists who are interested in exploring this field? What should they focus on to develop their own unique style and voice?
- I think the most important aspect is finding your own style, especially feeling it. Already during the editing you should get the feeling that this is now my own style, my way of working, my way and expression of representation, which you won't find anywhere else. but at the same time it has a certain harmony. Here you can try out and achieve a lot with the combination of photography and image editing.