So, for example, various arrangements as if shot directly from above with a repro camera of flat, transparently translucent, potato-slice-like ovals—pastel-light-hued, seemingly completely disembodied, almost a bit like watercolour-like shadows of something, floating before a nearly neutral white. But shadows of what? It almost reminds me of … ? Exactly, the title then indeed says it: “Pringles”.
Wood Survives in the Form of Postholes indicates Stefanie Seufert’s searching approach to the world of things that surrounds us. Let’s call it a release of aesthetic signs that—like postholes—are always somehow there and constantly surround us, but that produce no visibility of their own, but, on the contrary, seem to lead an existence of their own. The result is an archaeology of the present: seeing and studying things enlarged. Tied to the medium of photography, which claims universality, and that can, as Seufert shows, stand up to all critique of representation despite that promise.