Growing up surrounded by old cameras, an armada of family photographs and antique, leather-bound, chemical encyclopaedias from the 19th century on photo development, Lars Plessentin was interested in many things in his youth – except photography and art. Instead, following his adolescent inclinations, he devoted himself to graffiti. That changed abruptly during his studies in product design: by chance, he took photography seminars – and developed his first artistic works. For a long time, his working method was entirely focused on the possibilities of analogue photography, but often expanded to include experimental techniques and processes.

In his current series, Lars Plessentin is changing these working methods once again, approaching his preference for objects and model building in line with his studies. He experiments with structures, materials, elements and the patina of use – an echo of his youth. Analogue techniques for processing materials provide the finishing touch. The respective elements are playfully arranged in the object and change their appearance depending on the angle of view and lighting situation. This results in unconventional, even curious objects and wall installations, seasoned with a touch of sharp sarcasm and nuances of pointed irony.