"Pictures are time left behind," says Manfred Paul, who today can look back on a comprehensive photographic oeuvre that has been created over the past five decades.
The exhibition shows his intimate, partly mask-like portraits from the series Jutta Deutschland (1981–1984) and Steffi Scherzer (1997–2001). They allow a glimpse behind the scenes of the Berlin operas during the 1980s and 1990s and tell vividly about above-average physical performance, emaciation and pride.
These introspective portraits of two prima ballerinas, removed from their presence, flanked by motifs of withering flowers from the group of works still - Leben (1993–2008), illustrate Paul's view of the dialectical nature of photography. The fleeting moment is withdrawn from its transience by means of a balanced interplay of artistically motivated authorship and simultaneous mastery of the photographic medium and captured in the image.