Kathrin Guenter has been exploring extensively gossip, star behaviour and the phenomenon of paparazzi photography. Her recent researches and investigations focus on thought-o-graphic experiments, photo chemical processes and other invisible phenomena in photography of the early twentieth century.
Star Shots I, II, III
The first series of star shots emphasizes on and plays with the allegedly scandalous but rather stereotype situations in the world of celebrity gossip, categorized (by the artist) as at the beach, at a party, shopping, at the airport etc. Ever repeating scenarios, easy to identify as paparazzi imagery due to their blurriness and distance to the subject, resulting in a grainy pattern. The exchangeability of these images, which may only reveal the identity of their blurry protagonists throughout a well fitting or rather manipulative headline as well as the constant in-scening of both the observer and the observed is the main aspect in the first star shots series.
Leaving behind above mentioned easy-to-identify aesthetics of former mainstream paparazzi photography, the protagonists of the second series, both in front of and behind the camera, come out of their protective camouflage to carefully assist each other in finally choosing and publishing the most suitable moment.
Focusing on young female media stars, star shots 2 reveals the pseudo scandal within paparazzi photography. Widely documented and broad casted disasters, such as Kate Moss' affection for cocaine or Britney Spears' inability to successfully park her car, are just a few examples to be reenacted by the artist herself in the photographic series.
Star shots II visualizes the crack in the mask, which, seductively glittering, slowly gives way under the pressure of constant observation and the inevitably destructive desire of self in-scene-ing, to eventually break open, scattering the myriad alleged scandals and tragedies, which the hungry public eye is waiting for day after day: The blank bareness in all its eerie, dazzling splinters. This series emphasizes the absurdity on which the female star cult is based and on the damaging consequences that a daily in-scene-ing can extend to.
Part III: The Go-Between: Double
Star shots III exposes yet another layer of the phenomenon of paparrazzi and celebrity photography: The Double. Following an intensive research and experimentation within the field of paparazzi photography on the one hand and psychic,- and spirit photography on the other, Star Shots III reveals the subtle connection of the two phenomena.
The double as the aetheric counterpart of the physical body, takes the role of the very mask which in the scond part gives way under the constant pressure of observation and self staging. The mask or the double wanders about in the third series as a ghostly shell, as the discarnate double, detached and free from its original physical body. In her darkroom cabinet, the artist literally conjures the very double of certain living and especially mediumistic female celebrities. Successfully materialised she is ready to catch and expose it on photographic paper.