Fette, from The Silent March, Los Angeles, 2010.
I scanned older work, and I uploaded the shots on my site. Scroll down.
And I will also write in French.
I live in Berlin, and sometimes in Los Angeles. I make photographs, and videos. And, here.
I also flit on Twitter at times.
This is a little bit of why I am still looking.
I live in Berlin, and sometimes in Los Angeles. I make photographs, and videos. And, here.
I also flit on Twitter at times.
This is a little bit of why I am still looking.
May 30, 2012
May 29, 2012
Collaboration with Melissa Gira Grant for Abe’s Penny, Card 3/4.
Collaboration with Melissa Gira Grant for Abe’s Penny, 2012.
May 27, 2012
Fette, Two rooms I didn’t sleep in, Los Angeles, 2011.
Fette, Le pedalo, Lindow, 2011.
May 18, 2012
“She had considered, station to station, what they might leave in the car.”
Collaboration with Melissa Gira Grant for Abe’s Penny, Card 2/4. See large.
May 11, 2012
May 3, 2012
I am absolutely thrilled to present you with the first image from this series of four postcards made in collaboration with the fabulous Melissa Gira Grant for Abe’s Penny. Please, subscribe today in order to receive them in your mailbox. Thank you Anna and Melissa.
From the press release:
New York, NY, May 2, 2012—There was a mention of a murder. Something roaming. Grant required a train. Not knowing who the characters were, she knew they would coexist in Vertigo and Mullholland Drive. Sans booked a night train from Munich to Berlin.
Grant sent text prompts to Sans, who sent back her photographs—faceless characters with tension and melancholy that alternate between two realities: black & white and color, the inside and outside, and stillness vs. motion.
Abe’s Penny met Grant late in 2011 and asked her to contribute. She requested Fette Sans to be her collaborator, a photographer Abe’s Penny editor Anna Knoebel met in 2006 while making the rounds at Miami Basel. Grant and Sans had met earlier this year in the East Village after following each other’s work online for over two years. As Sans put it, “Serendipity at its best. Meeting in person without setting up a time, but randomly bumping into one another.” Very much like you might on a train.
May 2, 2012
Fette, Jannowitzbrücke, Berlin, April 2012.
April 25, 2012
Fette, Untitled, Berlin, April 2012.
April 17, 2012
April 16, 2012
Fette, Untitled (8), 2012. See also.
—
It’s hostile in that you’re trying to make somebody see something the way you see it, trying to impose your idea, your picture. It’s hostile to try to wrench around someone else’s mind that way. Quite often you want to tell somebody your dream, your nightmare. Well, nobody wants to hear about someone else’s dream, good or bad; nobody wants to walk around with it. The writer is always tricking the reader into listening to the dream.
Joan Didion. Via.
Fette, Three years, Los Angeles, March 2012.
The top photograph was taken in October 2009 and was part of the series Nanou, which resulted in the eponymous exhibition at Infernoesque in Berlin in September 2010. The photograph at the bottom was shot in March 2012.
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