A seat, a machine, a lamp – in their proximity, things lose their function, and with it, their names. They become mere presence, generating resonance. In his work, Florian Merdes approaches the threshold between object and image. A search between material surface and polyvalent depth.
In the photographs of the exhibition Infinite Supply, a transitional space emerges between object and representation, where materiality takes on an affective corporeality. Nearness and distance begin to waver; familiar perception becomes unsettled. The textures act as projection surfaces onto which intimacy and strangeness are simultaneously inscribed. In their object-like interaction with one another, they open up a network of relationships that generate, shift, and unsettle meaning.
The works revolve around an economy of looking: every smooth surface becomes a promise, every dent a trace. In these images, a quiet anticipation of the future takes form. A longing, a fear, in which form functions as a medium—a mediator between internal and external realities. In the play between material and psyche, it touches our deep need for a center that always eludes us, always lies elsewhere.
