Alix Delmas unites her photo series “Sisters” and “Bacchanales” under the title “Faces over Surfaces” in the FOTOHOF.

In the “Sisters” series, gelatin silver prints (coloured films for theatre and cinema projectors) float on the surface of a summer swimming pool. The projector is the sun. The shadow of the gelatine sheet at the bottom of the pool radiates and reflects more intensely than the original. The arrangement shows that “…the world below” – the projected image, the intangible – is as inseparable from the “world above” – matter, the tangible – as two sisters and symbolises death as the threshold between the two worlds.

“Bacchanales”, a series of four photographs, in reference to the four seasons, shows a silent, nocturnal round with giant legs wandering around. In the light of car headlights, the hue of the four images changes from a saturated state to close to black and white. In the “Bacchanales”, the narrative takes place outside the field of vision and thus leaves room for interpretation; the question here is about the inversions of proportions, scales, landscapes, figures.

Delmas relates her own body to the world around her and explores its limits. Leaving the white cube, Delmas escapes the conventional methods of art production. Delmas uses her body to retrace how buildings shape or structure a place by positioning it as a sculptural reference in an environment. Interior and exterior spaces become perceptible in terms of a human dimension, and vice versa, the human body is conceived as a space-occupying, structuring element.
The selection of photographs shown in the FOTOHOF is connected with the outdoor work “Come back tomorrow”, which was realised by the Leube Foundation in St. Leonhard last October. “Come back tomorrow”, a purple sculpture platform at a height of 1.70 metres – penetrated by tree trunks – is an invitation to the walker to come closer and stand on a platform. The viewer floats, as it were, in a panorama.