At the same time she constantly examines man’s affinity for his immediate surroundings, be it in in a landscape – as in this exhibition, devised specifically for Movements along the Periphery at the Alfred Ehrhardt Stiftung – or in the urban realm as in earlier works. Her “partial portraits” are embedded in a nature that she probes and feels, that she approaches; with which she seeks a dialogue and to which she builds up closeness.
At the same time her physical presence is always implied in the image, for her concern is to experience a landscape through all physical senses in a process of constant transformation: “Landscape, or rather remote pieces of nature in my photographs are understood as an undirected space that surrounds me: a space that moves the gaze, a space in which I linger, a space that I experience slowly as I walk along. Position and movement of the observing subject are part of the pictorial occurrence – the margin of the image is thought of as a permeable membrane. Perception originates not only in the eyes but in the whole body and also takes in the space behind our back”. As a consequence choreographically dynamic, cinematically conceived black-and-white sequences are created in which she loses the overview of the landscape and the horizon. She prefers such amorphous landscapes as Northern German meadows and dunes, which move constantly, cannot be captured and deliver only very few geographic clues. The famous film essayist Frieda Grafe described Silke Grossmann’s deliberately sought weightlessness and lack of orientation as “circling of the square”.