His love for tradition goes all the way to using analogue camera, developing from negatives in his laboratory and toning with selenium. Although he was formed by his studies, he is not limitated by it and his interests are wide and likes to experiment a lot. This is the reason why Von dieser Welt is much more than a photography exhibition.
Boris Gaberščik has already played with alchemy with his previous series Solve et Coagula but with this new serie he likes to find unused objects, giving them a new life in front of the lens. The objects are put on the floor, they seem dead and without future, but Gaberščik takes them back to life with their statuesque presence on the floor. Gaberščik remains consistent both in technique and imagery. He builds his visual opus through an array of found objects, plastic toys, porcelain cups and cracked glasses, dead birds and bugs, all of which he arranges in numerous combinations and compositions.
In contrast with the previous series, Von dieser Welt is no longer silent contemplation, but ventures into the world of people and social action. Alchemy has been Gaberščik’s inspiration throughout his entire creative work, yet this opus invokes the feeling that alchemy is present only in the technical aspects of his work, while the artist searches somewhere else for the meaning and content. With a subtle and telling playfulness, the author names his newest works Triumph of Civilization,placing an oil cistern on a symbolic peak, a reminder of environmental issues, East and West, where he confronts a modern, West-German Mercedes against an antiquated, East-German Trabant; Political party, where porcelain cups are composed into a fragile whole. Through such topics, he presents his point of view for the first time, a much more critical and less frequently expressed in his other works. The photographs in this series are connected through composition, since object-structures are consistently placed on the horizon.
