Linn Phyllis Seeger's photographic work examines the correlation and interplay of man and place, particularly reflecting about geographical utopias, modern myths and memory, treating landscapes, faces and the mundane as coequal combatants against forgetting. Alienation, delocalisation, and the human need to create places that exceed real living environments are ubiquitous motifs in her artistic work. After graduating in 2015, she has been pursuing several projects during artist residencies in the course of the past years, and exhibited her work throughout Europe, the United States and China.
Linn Phyllis Seeger studied photography at both Folkwang University of the Arts in Essen, Germany, and Academy of Media Arts in Cologne, Germany. Apart from her own artistic work she has been part of the curatorial team of the PhotoBookMuseum in Cologne, Germany, since 2014.
Linn Phyllis Seeger engaged herself with the same-titled play by Jean Cocteau, which deals with how history continues to repeat itself despite of the knowledge of past mistakes or the knowledge of a calamity being imminent. Creating a fictional narrative from previously unused files from her personal archive, she arranged a visual cadence of pairs and single images that rhythmically repeat itself, just like similar motifs are reoccurring throughout the years and places depicted. By rooting out the images from their original context and arranging them to a self-contained sequence, their meaning is shifted. Each image is a semantic level, an allegorical unit, adding up to a story that waits to be deciphered. She is referring to the esthetics of binary coding language, which translates information into sequences of two different symbols: 0 and 1.
During the SENTIMENTAL DEFENSE Artist Retreat, she intensively engaged with the landscape as remembered space.
Each shown surface reveals the marks and wounds that both old, sentimentally driven idealizations, and new, momentarily driven glo- ri cations left behind. The resulting photographs of the surrounding nature and suburban landscape show textural abnormalities and deformations that stick out like ugly scars and sore wounds from the found surfaces. By use of the digital editing tool “healing brush“, she then virtually heals these surfaces, clearing areas and cleaning scars.