Sabine Korth's blog: Trust your process. Collage is more than just fun. Creative photo collage as a daily habit. #CRMR
• Place and date of birth: Monheim, Deutschland, March 18th, 1958.
• Citizenship: German.
• University of Bielefeld, Photo Design, 1986
• Graduation thesis: Youths’ Free Time and Night Life in Italy.
• Languages: English and Italian fluent
• Member of DGPH Deutsche Gesellschaft fuer Photographie and DFA Deutsche Fotografische Akademie.
1986 Moved to Florence, Italy.
1987 -1994 Manager of “Print Service” a professional black/white printing and developing laboratory.
1994–present Free-lance Photographer
.Offers workshops in photography of reportage, portrait, black and white printing and fotomontage.
.Attends regular annual lectures at University Dortmund, Germany – Dept. of Fine Arts.
Professore di Fotografia Classica, Digitale e Fotografia Sperimentale
Tecniche di Fotografia classica, sperimentale, alternativa, stampe antiche, pinhole, composizione, reportage, foto di matrimonio, ritratto, montage e collage, camera oscura analogica e digitale. Archiviazione,produzione libri fotografici, videopresentazioni.
Guida didattica e workshop per studenti in combinazione con gite fotografiche e fotoanimazioni in scuole e asili.
Docente di „fotocollage terapeutico“:
Collaborazione come docente e tecnico fotografico con il Gruppo Fotografico “ScattOcchio”del Laboratorio di ArteTerapia Multimediale, Centro di Salute Mentale ASL 2 del Dott. Carmine Parrella.
Realizzazione di laboratori creativi per bambini e adulti.
.Lorenzo De Medici Consortium for U.S. programs in Florence.
.SACI – Studi Arts Center International Florence
Courses through Studio Marangoni in Florence:
.Sarah Lawrence College in Florence
.New York University
.School of Visual Arts in Florence
1991 – 2016 Traveled in Egypt, Mexico, Venezuela, Cuba, Ivory Coast, Ghana, Zimbabwe, New York, India, Morocco, London and Istanbul doing reportage black and white and color digital.
Today more than ever, expressive language communicates the “Zeitgeist” of our times. InFrom South to North, I bring together different cultural forms in order to stimulate reflection on this subject. Instead of employing a classical documentary method, I use a more creative approach that appeals directly to the viewer’s imagination. Combining photographs allows me to interweave and concentrate images. These are fictions that, like poetry, rely on metaphor and simile to achieve their effects. References, allusions, and analogies create a surreal atmosphere that leads the viewer to another reality—one that may be read only beyond the confines of the photo frame. I feel that a body of work is strongest and most honest when it challenges both the viewer and its creator to consider equally new perspectives and ideas.
Recently I have begun to explore the possibilities of the “digital darkroom.” To date, most work produced digitally has been commercial. Only recently has digitally-produced photography emerged as an art form. I am fascinated by the computer’s ability to synthesize—to weave disparate materials and into a single continuum. This enables the artist to explore in fresh ways both surrealist and post-modern perspectives. Although my working methods have radically altered, my interests remain the same. The content of my previous work has flowed naturally onto the screen and into the images before you.
I enjoy teaching and sharing with students my experiences as a photographer. Whether instructing students in traditional darkroom approaches to developing black-and-white photographs or in new digital approaches to developing color photographs, teaching is for me like a never-ending cycle of giving and taking. When working with students, I often encounter unexpected points of view that challenge me to rethink the ways I approach the students’ work as well as my own.
i am glad – the work is growing steadily … image after image … I believe strongly, that talking about my home habitat I talk at the same time, also about our huge habitat with all the implications on the relations between, nature, animal and human being … explore – a flight in time between past and future – a literal glance under the surface – the opposite of “feet on the ground”… all this , flows together under my paintbrush, the digital brush of my ipadpaintings. The freedom of the digital brush stimulates my need for a spontaneous, quick, dirty, sketchy technique – painting with light. please visit my website:
fragmented half images linger in my mind, just under the surface … a line in a book, a rhyme in a song. A juxtaposition out of the corner of the eye pulls it up … into the light … like a printed image in the dim red light in the darkroom appears out of the dark liquid in the developer tray …
with the novel from Salman Rushdie: The Enchantress of Florence”
… Experimente mit der Form … lakonische Stossgebete … unmittelbare Widerspiegelungen seiner Gedanken … Ausschnitte verschoben … nicht synchronisierte Bildsprache … Vielschichtigkeit und Fragmentierung … beiläufig …Impromptu der Erinnerung … Familienfotos.
aus “Essays über Robert Frank”, Steidl Verlag, Fotomuseum Winterthur, Urs Stahel, 2005, Seite 150, Text von Mirelle Thijsen: Sequenzen in Alben, Fotobüchern und Polaroids.
Valutando alcuni schizzi trovo che i colori forti risultano troppo legati alla realtà. Vorrei levare in alcune aree il colore, non solo per far esaltare il resto, ma in prima linea per dare più spazio ad una lettura rilassata e aperta dell’ immagine.
Tecnicamente non uso sofisticate tecniche di decolorazione. Piuttosto tornò alla strategia di dividere l’immagine in zone, come se lo tagliassi con forbici mentali: in photoshop aggiungo una versione in bianco e nero sotto quella a colori e con il tool “gomma” eliminino le parti che contengono colori superflui. È un gesto molto liberante: Less is more.
E penso ad una frase di René Magritte:
“Cerco di ritrovare l’enigmatico nel familiare.”
L’ho letto nel mio testo in tedesco, René Magritte: sämtliche Schriften. Originale in francese: Blavier, A., Flammarion, René Magritte. Ecrits complets, Parigi 1979
“Ich bemühe mich, das Vertraute ins Fremdartige zurückzuversetzen.”
“I try to restore the enigmatic in the familiar.”
From René Magritte: Writings. Original in french: Blavier, A., Flammarion, René Magritte. Ecrits complets, Parigi 1979
Evaluating some sketches I find that strong colors are too tied to reality. I would like to get rid of the color in some sections, not only in order to make stand out the others, but rather to give more space to a relaxed and open reading of the image.
Technically I do not use sophisticated techniques of discoloration. Rather I return to the strategy of dividing the image into zones, as if cut out it with mental scissors: in photoshop I add a version in black and white under the color image and erase with the rubber tool parts that contain distracting colors. It is a very liberating gesture: Less is more!
Introduzione del libro di James Hillman: “Presenze animali (Adelphi 2016)”. “Perché vengono? Chi sono gli animali che compaiano nei nostri sogni, e perché vengono a noi, proprio a noiche abbiamo trascorso gli ultimi due secoli a sterminarli regolarmente, a un ritmo sempre più rapido, senza pietà, specie per specie, in ogni parte del mondo? ” 27 gennaio 1991
From the book of James Hillman: “The Animal Kingdom in the Human Dream”. “Why do they come? Who are the animals that appear in our dreams, and why do they come to us, just to us who have spent the last two centuries to exterminate them regularly at an increasingly rapid pace, without mercy, species by species, in every part of the world?