At a time when around 45 billion photos are taken worldwide every year, the question of the sense of further image production arises for photo artists. Photo recycling as a contemporary form of artistic image making is the ideological basis of Tyrolean photographer Rupert Larl. In a transitional phase from the conventional, analogue recorded photo image to digitalisation, the photographer processes his as well as photo found objects with the colour copier. The most important intervention is the selection from these pictorial worlds, which are robbed of their original authenticity by the digital transformation of the colour copying process and, through cropping and the choice of arbitrary enlargement, find each other in a new context on the gallery wall. The most diverse aspects of human existence, Larl’s “little extases”, stage themselves as if by themselves in the use of trivial photography and are source material for the archive of his wonderland. Thus, supposed image errors in amateur photos or a pre-exposed film start that outshines part of the view of Biarritz or the typical view of the Doge’s Palace on the first visit to Venice are also utilised in the same way. Subtle humour can always be found in Rupert Larl’s pictures; they represent an attempt to transform vulgarity almost miraculously into poetry.