Norman Sandler translates mundane objects into significant artifacts of our time. His drawings are misleading the human eye by resembling mechanically reproduced copies. Only the barely visible traces of his handwriting reveal the process of their coming into being. The drawings of the series „back“ (since 2015) address the process of the "graphic" translation in two ways: the focus lies on the photographic print, specifically the small format negative, the standardized form of the nostalgia of private analog photography. Depicted are the backs of specific prints, which we usually don’t pay attention to. They show metadata inscribed into the prints as well as traces of usage which remain readable. Even though the image based depiction is tangible, the beholders search for (a possible meaning of) the "image" remains open. Sandler's translation of the photographic prints into drawings furthermore constructs a connection of the "graphic" which, in his artistic practise, reverses the process and time of the image production. It is clearly not the "Pencil of Nature" creating theses pictures in a supposedly automated way but the artist's hand which, in a time-consuming and complex process of images production, attempts to conceal his existence.
Norman Sandler, *1981 in Berlin, lives in Bremen. Studied Freie Kunst at Hochschule für Künste in Bremen, with Prof. Paco Knöller (2013/14). Most recent exhibitions: 2016: „39. Bremer Förderpreis für Bildende Kunst, Städtische Galerie Bremen“, „Anwandlung“, Galerie Barbara Oberem, Bremen; 2015 „Regisseure des Lichts. Von Rembrandt bis Turrell, Kunsthalle Bremen, „Preisgekrönt“, Syker Vorwerk - Zentrum für zeitgenössische Kunst, Syke. His works are represented in the collection of Kupferstichkabinett of the Kunsthalle Bremen and numerous private collections and won the Kunstpreis der Bremer Loge zum silbernen Schlüssel in 2013.