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Theses photographs show a typology of almost derelict houses, as well as the still lively neighborhood, in which they are located. These images mainly photographed in the middle of the night, hint that the ruins are still inhabited, according to that one last light that is shimmering through the windows or the doors. The series appreciates the urge for people to hang on to their original homes. "Nail House" is a term for buildings belonging to people in China who refuse to leave their homes to make way for new apartment developments.
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Informal Arrangements features the interiors of South African shantytown shacks. These photographs speak of the desire to arrange one’s home comfortably using the few means available.
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Case Study Homes is actually a sketchbook. The collapse of the Lehman Brothers Bank and the paranoia about a second global economic crisis gave these images another dimension.
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Having a home means having roots, which is not the same as being rooted to the spot. This is not a project about Germany as homeland per se. Rather, it creates a fixed image of a personalized bit of visual and cultural history.
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Paradise Now presents fragments of nature—some of them mise en scčne, others untouched by urban growth—on the periphery of the artificially illuminated infrastructure of large Asian cities.
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In new project, I examine the transformation of urban wastelands, many of them located on the peripheries of cities. The photographs were taken in more than twenty-eight cities and fourteen countries.
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In Neon Tigers, I merge the seven Asian cities of Bangkok, Kuala Lumpur, Hong Kong, Shanghai, Jakarta, Singapore, and Shenzhen into a virtual megatropolis.
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Over a period of three years, I made several journeys to India, where I visited religious sites and explored the mystique and the soul of the Indian subcontinent.
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Rungholt was once believed to be the Northern Atlantis. it was submerged, so noone exactly knew where it was or when it had sunk into the sea, only that this has happened. In 1362, long before climate change became a media darling, a vast storm tide swamped Rungholt, something that could not be verified until the 1930s. There are no photographs of Rungholt but an idea of it.
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The Project “Eden” explores the boundaries between picture taking and pictures making. Shot at the “Cradle of Humankind” in South Africa in December 2010 I look at the relationship between believe and science.