ClFts @ Kunstnow/ Copenhagen

KUNSTNOW_ Its time for a new feature, and it’s one we have been looking forward to in a while. The work of Simone Thünemann / @sthuene caught our eyes a few weeks back. Last week we reached out to her, and she was immediately on board for a feature, sharing insights into her process.
KUNSTNOW_ How did you get into photography in the first place?

When I was a child I sometimes used the camera of my mother and tried to photograph some people, that i thought they was interesting and had a special look. But my mother stopped me and said: you can’t just take photos of strangers. It seems that I have always kept this interest for interesting people and places that have a special charisma and today i am not any more prevented from living it out and it seems that in this was my mother has aroused a special interest and made it sustainable.

KUNSTNOW_ Can you briefly describe your process? How do you prepare yourself?

Its important to have the right light for photographing. The results are much more convincing and expressive with the right light. So if daytime and weather are ok i am going out to the city or villages and sometimes also to the country and taking photos with my Minolta Analogous Camera. I get to know the places and things i like, while I document them. Further more i expose the pictures twice, because the result is much more interesting because of fascinating combinations that cannot be found in the natural environment.

KUNSTNOW_ Your pictures are oven layerd and play with reflections. What’s the backstory here?

A result of the double exposure is that the things and places are combined in a unknown way. A photo of mine is made up of different things from familiar contexts and results in something new. This new combination of visual things draws attention to viewing habits and creates new perspectives by absorbing the mind like a daydream and allows to be experienced. Such a new experience of previously unknown objects leaves lasting traces and is a unique experience and an event of a special kind. I therefore work with the viewer as well as with the material, which in this way is only an aid on the way to the actual work of art: the viewer’s perception and experience. My work therefore requires the active participation of the viewer, less in physical form than in mental form. I understand this action as a thought process and furthermore the experience of one’s own behavior and point of view.