In a series of black and white images of the German landscape made between 1987 and 1997, Michael Schmidt has forged a new pictorial language to deconstruct the world he observes. Concerned with light and form, Schmidt’s images contain a wealth of silver tones, a spectrum of rich greys which evolve from light to dark in mystical, imperceptible gradients. But the black and white filter is also a tool that allows Schmidt to neutralise the world, impeding the subjective perception of his viewer. It is through his editorial process, a process of montage, that Schmidt constructs an interior dialect, fashioning a self-contained world within the linear sequence of the book.0.
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