Heavy machines through whose gaps light penetrates into the darkness of the screening room: the special aura of the projectors has enthused Ricarda Roggan since she spent long, tranquil cinema evenings with them on a student job. The weight of the heavy apparatus, the subdued clattering of the motors, the airy flickering of the images in the movie theatre. All these impressions waited a long time and tenaciously exerted their effect, to be condensed now in a new photo series that is more closely tied than usual to the biography of the pictorial artist.
Like everything that Ricarda Roggan arranges in front of the lens of her large-format analogue camera, the projectors now persist in a kind of time capsule. They don't shout, 'Look at me!' or 'Get me out of here!' They are self-sufficient, modestly pleased that a stage is prepared for them once again. They persist, resting in themselves, and precisely because of that develop their own sober, completely unsentimental magic. They express a mute invitation to view them concentratedly and without disturbance.
Ricarda Roggan avoids dramatic effects, distilling with constant condensation and concentration the purism of a concentrated moment from restless, disordered reality. These clarified sceneries are illuminated only by their own light and the radiance of the projectors, which an ingenious system of reflections on glass panes and mirror surfaces guides across walls and through the room back upon themselves, where they are collected until the bodies, contours, and textures emerge from the darkness. Ricarda Roggan paints with light and time. In their sober objectivity, the resulting distillations are reminiscent of industrial and advertising photographs from the 1960s and '70s, the era from which the apparatus come. And yet, the pictures go far beyond mere product stagings. In the series 'Apparate', two previously separate working paths come together: the clarifying staging of a place, and stage set construction for small and large objects.
Extract from the text 'Painting with Light and Time' by Anke Sterneborg. Translation by Mitch Cohen. Courtesy Galerie EIGEN + ART.