Please upgrade your browser

For the best experience, you should upgrade your browser. Visit our accessibility page to view a list of supported browsers along with links to download the latest version.

Ramona Güntert

MA work

In search for the purple fish

I wonder what it feels like

Fibres growing through the materials like veins through the body. The inside collapses and the skin takes over what once used to be a body. Empty or full, that does not appear to matter. These folds create shapes and endless arrangements. Imagine two circles meeting. An oval shape is created in the middle, an extension of the connected two circles. Oval shapes are like transformed circles, flatter, but more open than round as a shape itself. Bodies are like oval shapes. Or trees in comparison to legs, shapes of fins in comparison to legs: shapes becoming yet more shapes. It is always a becoming, a form forming form from one point to the next without end. The mass is flesh, but then something cannot just be flesh. A mass seems always solid, unbreakable. Bodies are liquid, flowing from one thought to the other.

While emptying it, the middle part becomes a gap, a cut. Adding means touching. Subtracting means wounding. Eyes look like mouths. They seem like bodies that have no inside, appear like something that feels like skin but is not. These shapes are hanging. The body collapses and in its collapse, disappears. These slight gaps (like the difference between flesh and skin), appear as marks or scars, yet whose traces of wounds, this remains unclear.

Things are veiled, covered; yet in return something new about ourselves rises up. The materials in the photograph remind us of bodies. I use fragments of the everyday; transform them through size or material of the print. Hence it becomes more of a corporeal experience similar to the physicality of printing large scale in the darkroom. I am interested how those images exist in reality, how they can slip between repulsion and desire. And in the end still seem like fiction. Photography is not a way of documenting something or telling a story. For me, the process of image making, is rather about creating a feeling or a taste of something that I hope, will stay and make us think of our own body and relationships to others.

Info

  • MA Degree

    School

    School of Humanities

    Programme

    MA Photography, 2017

  • The objects in my photographs oscillate between two states, between the human and animalistic. And yet these objects are neither one nor the other. Deflated, rejected, they seem like bodies that have no inside, appear like something that feels like skin but is not.

    Using domestic and natural materials, the images evoke alienating tensions, creating a sense of displacement and uncertainty. Juxtaposed with fragmented photographs of actual orifices, of eyeball sockets and lips, one enters into the work only to have the body that appeared disappear into darkness.

    Throughout the work, I question what a body is and can be. I ask whether it is always human, or whether a body could also be non-human. My practice plays with perception, unsettling that which we think we know. Things are veiled, covered, yet in return something new about ourselves is rises up, like a feeling of rejection that grows from deep inside, becoming visible within the images.

    My practice is informed by theoretical ideas such as the notion of the abject and the uncanny, exploring the border between the self and other. A visceral unconsciousness seeps throughout the works, moving across the thin border between disgust and beauty. Objects slip into their natural surrounding, merging and disappearing, differentiation barely is visible. 

  • Degrees

  • BA Photography, University for the Creative Arts, Rochester, 2014
  • Exhibitions

  • Offprint, TATE, London, 2017; Hairwaves - for International Women's day, RCA, London, 2017; The Dose Makes The Poison, La carousel, London, 2017; Let(Her) Hang in collaboration with Agusia Beaupré, P.P.S. Photography Project Space, London, 2016; Brighton Photo Fringe, Collective Exhibition with S.KIN Journal, Brighton, 2016; Offprint, TATE, London, 2016; The Other, RCA Feminist Society, London, 2016; ISSP International Summer School, Kuldiga, 2015; FLOAT ART, Bargehouse, OXO Tower, London, 2014; Photokina, Cologne, 2014
  • Awards

  • Magnum Graduate Awards 2017, nominated; European Photography Prize 2016, shortlisted
  • Publications

  • DER GREIF, Issue #9, 2016; I FISH, self-published, 2017; Neither a fish nor a bird, self-published, 2017; S.KIN Journal, self-published, 2016; Prism Photo Magazine, Issue #23, 2016