A sight to behold

Onkel Rudi winkt | Marathontreppe, Berlin, 2005

Using pinholes or spectacle lenses, Oliver Möst has chosen blurrines as one of the key elements of his photographic works. The out-of-focus represents for him the way to rethink certain trends in contemporary photography, where imperfections and DIY mood turned into some kind of consolidated style, crossing both fine art and commercial photography.

Orange, Ærø, 2008

Through the use of old fashioned technical procedures, Möst attempts to reset the meaning of these effects and take them beyond the simple status of visual tricks. His series include still lives, tipologies, portraiture, abstract, creating an interesting revisitation of some of the major trends of contemporary photography through the foggy surface of his images.

Kantstraße / Joachimsthaler Straße, Unter den Linden, Berlin, 2000

Audigraphien, for example, is a series of pinhole landscapes taken from the window of his Audi 80 while driving around: "The advantage of photography is that a brief moment of our reality can be clearly and precisely captured with the press of a button. “Snap” and a picture of a particular place at a particular time is created. But is a snapshot really a representation of our reality? Are we not constantly on the move? And do we not perceive our surroundings in a vague and haphazard, rather than a clear and precise, way?" Cannot but agree with his words.

Nachtbus, Budapest, 2004

All images © Oliver Möst