From Light to Relief
Capir la glisch — Catching the Light
The process begins early in the morning or late in the evening — in that light which shows the mountains differently from how the eye knows them. With historical large-format lenses, a bellows camera, and modern digital technology, multiple precise exposures are made at each location. Millimetre-precise standard movements — tilt, shift, swing — place the focus not evenly, but where it belongs compositionally: on the ridge, the wisp of mist, the rock fold that no one else notices.
Furmar in maletg — Forming the Image
In the studio, what began in the field takes shape. The exposures are assembled into a single work — an image that holds the moment as the eye knew it: complete, without loss. The development is darkroom work by digital means. Dodge & Burn, curves, local light corrections — giving weight to the light, depth to the shadow, guiding the eye through the image imperceptibly. No filters, no presets. Every decision shows. Or it destroys the image.
Plasmar la glisch — Embodying the Light
For select works, the print is pressed into hand-folded Awagami paper. The micro-folded surface is no accident — it is part of the work. Incoming light refracts within it, the image begins to float. Printed with precision and restraint: so that the fine shadow structures remain visible, the highlights do not burn out, the paper can breathe. Framed in wood from the region of the images — untreated or selectively stained, depending on the subject. Behind non-reflective museum glass. Each work exists three times. Plus one Artist Proof.
maletg — The Alps, Felt in Three Ways
The name maletg was chosen deliberately. It comes from Romansh — Switzerland's fourth national language, spoken only in the Alps — meaning "image," a word as old as the human wish to leave a likeness, long before there were cameras to do it. The same language runs through the three lines of work gathered under maletg — Relief des Lichts. Each answers the same question — how to hold onto the light of the Alps — with a different degree of control: from complete precision, through deliberate blur, to a total loss of control through chance.
Cler (Romansh: clear, sharp)
Full control, maximum precision. Every ridge, every shard of ice resolved with absolute clarity, the mountain held in a single unbroken gaze.
Sfümar (Romansh: to blur, diffuse)
Controlled loss of control, deliberate softness. The landscape dissolving at its edges, light and form merging until the mountain seems to breathe.
Sömi (Romansh, Sursilvan: dream)
Total loss of control, chance decides. Inkjet image transfer onto washi. Every work is a unique piece — unrepeatable, never an edition.