Frederick Vidal


Frederick Vidal was born in Marburg an der Lahn, Germany in 1977. He studied at the School of Art and Design Kassel, where he put his main focus on film, experimental video and photography. After graduating successfully in 2008 he became masterclass student in the class of photography of Prf. Bernhard Prinz. His photographic work is based on a conceptual and documentary approach and positions itself at first case in the world of art.

Frederick Vidal was part oft the selection ReGeneration2 (tomorrows photographers today) of the Musée d lElysée Lausanne in 2010. Also honoured at the 8e Grand prix international de photographie de Vevey 2012.

"I am looking for visual arrangements, which mystery raises the question whether there is still chance or a conspiracy of things to emerge. I‘m interested in paradoxical surfaces and struts that show themselves to me as self-generating images. I see my work as a visual research and take parallels to scientific approaches."



In the series Platanen I-V, culture is overwriting nature and nature is overwriting culture. Does Fragment or defragment a new picture here? And can I recreate the message?



I see my work as a visual research that takes parallels to scientific approaches.
In the moth series I set up to determine the population density of night active insects. I wanted to participate in the emergence of a picture and I liked the idea that I can start with an empty canvas, like a painter.
In this case the empty canvas fills its self with self-sufficient elements.



My interest lies in the surfaces, structures and textures, which- materially or optically, as a product of decaying or new order creating processes- accumulate on the edges of urban reality. I visit places and dedicate my attention towards object clusters and solitary items, which, being marginal figures in the proceeding civilization could perform an outstanding liaison with man kind, if it were not denial and dismissal excluding them from fundamental processes of our daily life so successfully. Rubbish dumps, sewage works, slaughterhouses- I focus on these notional coherence, without dissociating from the material or documental view. In the inter space between analytical photography and poetic experiment a liberty can be acquired akin to the liberty of painting. With the so acquired concentration of formal qualities I refurbish associational regions which source their questions from microscopic cross sections or landscape photography as well as their epistemological and art-theoretical conditions of reception. The final documental image, so I hope, does hereby not deny its intrinsic inscrutability and the imposture of its visual set-ups. Occasionally the image will dissolve completely, akin to the captured material. The shaped structures, now set free, allow new thoughts, new alliterations of chemical and social transformation procedures, structural analogies of unknown and unnamed significance, to evolve.