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Candida Höfer’s photography focusses on architectures and public and half public places. Those places are always pictured in full absence of any human being. This allows a special perception of the structure and elements of the portrayed places. Candida Höfer’s artworks and editions show her close allegiance with the Düsseldorfer Photoschool.

The particular style of architecture photography attempts the elimination of perspective, which Candida Höfer achieves by refusing any upward or downward angles. A repeated stylistic decision is the emphasis of repetition such as windows on facades or balconies of concert halls. Looking at these images, the beholder might find the motives blur to abstract forms. The fascination for Candida Höfer’s artworks and editions roots on the one hand in the high aesthetic of the images. On the other hand she allows an insight that in its emptiness is usually inaccessible to the beholder. The absence of people triggers questions of their relationship to architecture.

Candida Höfer’s photographs are especially popular in Germany, Switzerland and the US where they have been honored with multiple solo exhibitions.

The artist

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