Natalie Ital
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  • Introduction

  • Bio

  • Exhibitions

  • Publications

Natalie Ital’s artistic creations are adventures in experimental photography with an emphasis on the traditional photogram. The artist uses digital editing to refine the details of her images and coined the term “digigram” to describe the finished products. The starting point for these unique reinterpretations is a simple photogram comprising an arrangement of objects, light, and shadows.

The main difference between modern digital photography and the photogram is temporal. Unlike today’s digital images, the photogram does not reveal itself until the development process is finished – which can take anywhere from a day to a month. By using this technique, the artist ensures that chance, surprise, and revelation are retained in the final works. Ital’s approach is based less on the use of a highly technical method and more on the desire to capture and present remarkable moments through simpler means.

In her recent series “Ultra”, Ital realised the interplay between light, shadow, and shape through digital means. The final results appear like silhouettes, but are in fact digital photographs. The digital nature of the works helps to preserve their essence whilst also distinguishing them from anything we have seen before. The colours carry the pieces into a hyper-realistic dimension and accentuate their uniqueness. Ital’s decision to focus on plants is in keeping with the origins of the photogram, which was used to pursue the comprehensive documentation of nature in the 19th Century. The world of plants has remained a popular subject in the medium ever since.

In “Ultra” nature has been tamed, but it still retains its wild origins. This balance of contrasts is a distinctive feature of Ital’s artistic approach, running through each of her works. The series is an experiment that draws the viewers in, fascinating us on multiple emotional levels. The wonder of nature is given new life, the ordinary becomes extraordinary, and we are presented not only with a new aesthetic, but also with a new emotional experience.

The artist only makes limited use of technology’s endless possibilities; just as with her photograms, she leaves the objects their own time and space. Digital processing may have accelerated the rate at which new pictures can be created for a series from the same original source, but it has not replaced the artist’s spiritual creative process, which is what gives her artwork its meaning.

Stefanie Liebal
1968born in Kassel, Germany
1987-1993Studied Visual Communications at Kunsthochschule Kassel under Prof. Floris Neusüss and Prof. Rolf Lobeck
 lives and works in Berlin, Germany

Awards (Selection)

1994Kassel Art Award from the Wolfgang Zippel Foundation

Solo Exhibitions (Selection)

2012Bunny de Luxe, 3 Schwestern, Berlin, Germany
2008Vanilla Voodoo, Jenaer Kunstverein, Jena, Germany
2005Photograms, Galerie Doonkerslot Amsterdam, Netherlands
2004Rock’n Roll Rabbit, Galerie Knoth und Krueger, Berlin, Germany
1996Promised Land, Heart Gallery, Mannheim, Germany
1994Of the Bone, Kunstverein Kassel, Germany

Group Exhibitions (Selection)

2010Recent works of seven photogram artists, Forward Thinking Museum, New York City, USA
2009 Die Natur der Dinge, Epson Kunstbetrieb, Düsseldorf, Germany
Veto, Deichtorhallen Hamburg – Haus der Photographie, Hamburg, Germany
2006 Kamera los! Museum der Moderne, Salzburg, Austria
2002 Fotografie als Experiment, Kunsthalle Erfurt, Germany
1998Signaturen des Sichtbaren – ein Jahrhundert Fotografie in Deutschland, Galerie am Fischmarkt, Erfurt, Germany

Books/Catalogs (Selection)

Experimentelle Wirklichkeiten. Galerie der BASF Schwarzheide (pub.), Schwarzheide, 2012.

Die Zweite Avantgarde. T.O. Immisch und Floris M. Neusüss (pub.), Halle, 2007.

Kunst und Fotografie. Floris Neusüss und die Kasseler Schule für Experimentelle Fotografie 1972-2002. Renate Heyne (pub.), Marburg, 2003.

Photogrammes - Photo Poche. Nathan (pub.), Paris, 1998.

Essays/Articles (Selection)

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