Katrin Korfmann

grew up in Berlin/Germany and lives and works in Amsterdam/The Netherlands. She studied at the Gerrit Rietveld Academie in Amsterdam, where she spezialised in photography and continued her research with residencies at the Rijksakademie in Amsterdam, Cittadellarte in Biella/Italy and the Chinese European Art Centre in Xiamen/China.
She won several prizes for her work, including the Radostar Prize (CH), Prix de Rome ( IT, 2nd prize) and the Esther Kroon Award (NL). She also received grants from international institutions like the Robert Bosch Foundation, the Akademie der Künste Berlin (GER), and the Mondriaan Fund (NL). Since the late 1990s her work has been internationally exhibited in galleries, museums, alternative art institutions and public spaces. Her work is represented in numerous private and public international collections.

The recent photography works by Katrin Korfmann are usually recognized as abstract paintings, while they give lot more details as our bare eye can see at first glance. 
The artist reveals the presence of a particular event  and suggests an impression of a “magic moment”,  as she brings together different times of shots into a single moment. Using a remote-controlled Helicam, from 500 to 2000 digital photographs can be made with, it takes the artist several months to compose a final complex image. Here, a well-thought choreography of manipulation of light and shade controls the perception of her images. Especially the bird’s eye view allows a fleeting of an event to place it at the center of attention. Titles as ‘Vrindavan (41 min), 2012’ or ‘Shanghai (46 min), 2013’ also refer to a time period, where the “unique” moment is put under question. The time so to speak frozens. The final work of art irritates also because of its oversized dimensionality, and it produces an artificial effect, as the artist handles the installation playfully. All detailed images are visible and appear to be simultaneously, but some depicted persons are set in motion or rigidity. The fascination of her pictures is in the aesthetics of the works and in their composition of the illusory simultaneity: seen from the distance an abstract, color-intensive work and considered in the vicinity, a cosmos that unfolds itself out of details.