Just over 30 years after the fall of the wall, I took up the publication Berlin nach 45 by Michael Schmidt, wholesale, not as inspiration or quotation, but as a kind of photographic choreography. I stuck closely to each image and the sequential order, using the same camera technik (13x18 sheets), building my own analogous subjects, formal resonances, and at times, exact topographies.

Something about reenacting his strict parameters seemed to force an insistantly historical perspective. This occured in doubles: reading Schmidt’s series through the lens of the present, and present-day Berlin as both post-`89 and post-war. It helped me to position the ongoing flattening of Berlin by its financialisation.

This series comprises 55 hand-enlarged silver gelatine prints. The project began as an idea for a book.