Getting Lost and Road Series (05-07)

Getting Lost consists of a series of photographs that captured Kögelsberger’s failed attempts at getting herself lost in landscapes that represent idealised notions of untouched wilderness. The work was shot using the light of distress flares in a performative interaction with the landscape and as a marker for the of the impossibility of the notion of untouched wilderness. Getting Lost was developed in parallel to the Road Series, a series of long exposure night photographs where the lights from the cars create as calligraphy through the landscape, framing it in an interaction suggestive of Land Art produced in the region.

L.A. Book Project

LA book project consisted of a series of photographic diptychs that highlight the difference between a city and its image. Each double page presents a contradiction such as for example the actual skyline of the city and its painted, fictional duplicate; the rooftop Jacuzzi party next to the film shoot of CIS New York, being shot in Los Angeles. The double images echoes Rorschach prints, where one side is not quite the perfect reproduction of its opposite.

Antipodes (2014)

The Antipode series consists of a series of photographic diptychs always juxtaposing two exactly opposite points of the globe in a single image. The work was shot in a three-week period, traveling from Spain, to Peru, from Peru to Hawaii, to New Zealand, to Thailand and finally to Botswana, covering the stretches of the globe. The series visually collapses geographical space to present a world inextricably connected.

Urban Myths (’08-’12)

Urban Myths juxtaposes those American cities that have seemingly grown overnight out of unlikely and often inhospitable environments that can not support them, from the swamps of Miami, to the dry desert of the America West. These images capture how the cities bleed out into their surroundings; be it through the radiating glow of the urban night lighting up the desert or the trails of cars or planes attracted to the urban centres like moths to the light.

Playing the Cave (2015)

Video Installation, Tullie House



Loosely based on the notion of a stop the rain-dance the video installation ‘Playing the Cave’ was a playful evocation of ancient rituals, myth and man’s desire to gain control over nature. It was developed in response to increase to rainfall due to climate change in  the Lake District. Shot in the mouth of a disused mine, during heavy rainfall the video work rejects an the traditional understanding of landscape through representation by going below the surface and looking at the tunnels left behind from one of the most actively mined areas in the United Kingdom.

The trancelike, rhythmic and tribal, soundtrack is composed of individual raindrops recorded inside the cave with the help of experimental recording techniques. Each beat triggers a new image. Fractured experience becomes a means of subjugating content to image, image to sound and sound to chance.

New Expressions 3 has been made possible by an Arts Council England National pathfinder programme that fosters collaboration between contemporary artists and museums.