Morfologie

The first series, Floodplain Forest (2016–2017), was photographed with analog black-and-white material and depicts a self-contained floodplain forest: an immersion in the tangle of branches and leaves, where the gaze becomes corporeal and tactile. Like Dante's dark forest, this forest is a place of both bewilderment and revelation—a living entity that envelops the viewer, almost as if it were a sensitive material with which to connect.

The images in the second series, Vergegenwärtigung aller Zeiten (2018 to the present), were shot from a great height. From a distance, the landscapes appear almost abstract. Only gradually do they become legible as spaces shaped by man. Roads, ditches, pipelines, fields, and reservoirs no longer appear as simple interventions of appropriation in a pristine natural environment. They themselves have become part of its morphology—inscriptions of economic, technical, and political processes on the earth's surface.

Every landscape is a process unfolding in slow motion. It is never simply what it depicts, but rather the visible result of countless overlapping forces. Geology, water, vegetation, climate, human labor, and political decisions are all inscribed within it. Some changes occur within a few years, others so slowly as to escape our perception. Both works revolve around the same question: how is time inscribed in the world? Not as memory. Not as history. But as a form we call landscape.

The exhibition thus presents two radically different forms of observation: immersive close-up viewing and detached, abstract viewing from a great height. Here, photography becomes visual speculation and is no longer simply a document. Between these two poles, Seibert poses the visitor the question of their own position in the world: are we still within the landscape or have we already left it?