If you check out Ombrenelcielo regularly like you should do, this entry might seem familiar to you. Candinda Höfer, born in 1944, living and working in Cologne is one of the Becher students, just like Andreas Gursky. In fact she was one of the first within the group of students to introduce colour to her photography. Originally Höfer was taking portraits of people for newspapers but after studying at the Kunstakademie Dusseldorf, film and then photography, her subject matters changed. She began taking colour photographs of the interior of public buildings, waiting rooms, offices, museums, churches, always devoid of human presence, from an elevated point that allows the most of the room to be visible and in perfect geomerty.
I love her large format photography’s take on the psychology of social architecture, and how these images can live and fascinate without the presence of people and the rooms do not lose their identity as social spaces. Höfer’s straightforward and detached style might seem clinical and purely documentary at first but this is not the case. The presence of people is always implied while the photographer often emphasizes the ironic by drawing the viewer’s attention to things out of place. All this combined, Candinda Höfer’s photographs can work as vehicles of collected human history and knowledge. Her rhythmical patterned images are not architectural pictures but solid representations of human intention, logic, disruption, interaction and behaviour without one man being in the picture.