Romy Pfeifer
Romy Pfeifer, a German photographer, resides in a rural region south of Stuttgart. Her photographic journey is primarily self-taught, encompassing a diverse array of subjects, including nature, natural landscapes, animals, travel, and portraiture. However, what holds particular significance for her is the realm of experimental and abstract photography, where she employs various techniques and creative approaches.
Romy’s knowledge and photography expertise continually advance through her independent, self-directed learning. One of her ongoing projects is multi-exposure and ICM photography of nature and natural landscapes. This unique form of photography allows her to emphasize the vibrant colors, captivating light, atmospheric qualities, and the dynamic essence of nature. It represents her distinct perspective on the beauty of the natural world, aiming to encapsulate and unveil the mystical, ever-changing, and fragile aspects of our environment. The line between reality and fantasy becomes blurred in these abstract images, enabling viewers to experience the wonder of nature and comprehend the perpetual state of motion and transformation that surrounds us. Throughout her work, she strives to elicit emotional responses from the audience while upholding the authenticity of her photographic creations.
Romy’s work has been shown in various exhibitions and art fairs in Germany, Switzerland, Spain, Italy, USA, France and has won several awards.
Romy, your abstract photography often dissolves the boundaries between reality and fantasy. Do you see your work as a form of visual poetry, and how do you decide where reality ends and imagination begins in your creative process?
With my way of photographing I aim to create something new, unseen until then. Most of the time it is almost irrelevant which object I photograph. What inspires me to take a picture are the light, color, texture, the mood, patterns and so on. I take photographs which are very personal. I express myself, my feelings, my mood. There is no place for just reality from the beginning of the process.
My work is in some way like a poem. The viewer often has to take his or her time to discover what is in the image. Like a poem one has to read very carefully or for several times to get all what is in between the lines. And like a good poem does, I intend with my work to evoke the emotion of the viewer. And even the emotion can change when looking at the image one day and again on another day, it depends always on the mood of the viewer, on his own feelings when approaching the picture.
Coming from a self-taught background, how has this independence shaped your visual language, especially in the experimental realm of multi-exposure and abstract photography?
For my traditional photographs, like portraitures and travel photography, I did a lot reading, learning rules and I attended some workshops. For the experimental realm, I just play around and see what works. Back in 2021 I started moving my camera while taking pictures and got very excited with the results. There were no rules, no limitations, just playing and experimenting. For me, this is the best way to feel free to develop new ways of creativity. In the beginning, I thought I had created something really new. Viewers confirmed to me that they had never before seen images like this. Later I found out that this technique has a special name: ICM – Intentional Camera Movement. There are excellent photographers who are already making fantastic pictures with ICM.
You often speak about capturing the movement and vulnerability of nature. How do you balance the instinctive moment of taking a shot with the reflective intention of conveying environmental fragility?
I think environmental fragility is everywhere, and nature depends on how we humans treat her. When I take an ICM-photograph with colors of autumn in the forest, there is movement all over. The colors of leaves, trees or whatever I photograph seem to dance. The viewer only sometime can guess the nature of the subject because of the abstract photography. When I do in-camera multiple exposure I can mix things which are strong or old with small things, to show the circulation of nature, for example. The instinctive moment just happens when I am out in nature with my camera, seeing something that draws my attention. Then I start taking pictures. As I am very conscious about the environmental fragility I think I am kind of focused on it. I can see it everywhere and this is reflected in my pictures.
Your images blur the lines between photography and painting. Do you see yourself consciously challenging traditional definitions of photography, especially in fine art contexts like your upcoming Konstanz art fair?
I consciously work with abstract and experimental photography because I intend to create photographs in different, unique ways. Through this kind of work I find a way to express myself, to communicate emotions, and my love for nature. I show what my heart sees. For me that means to create artwork out of intuition and express my very special sight.
Often viewers at art fairs and exhibitions think that they are looking at paintings and are astonished when I tell them that my works are photographs. That was not my intention in the beginning to blur the lines between photography and painting. It just happened.
Much of your work evokes an almost meditative experience for the viewer. How does your rural life surrounded by animals influence this contemplative atmosphere in your art?
I am lucky to live on the edge of the Schönbuch Nature Park with forests and acres of open space. Every day I am out in nature. Walking over fields, through forests, accompanied by my dog or riding my horse. These are the best times of day for me. The animals are so peaceful, patient, friendly, full of love and understanding. When I am out in nature, I feel connected to it and I calm down. Then I take all the time I need to photograph and I think that is something what my art reflects.
Abstract photography can sometimes risk alienating viewers unfamiliar with the genre. How do you approach creating work that remains emotionally resonant and accessible while still being deeply personal and experimental?
Right now I mainly take pictures of nature and natural landscapes. Even if the work is very abstract and you can’t tell what has been photographed, the colors, the light, the structures and the forms are most often peaceful, colorful and show harmony. Even those works which are dark or gloomy, always contain some light.
In an age where digital manipulation is often questioned, how important is maintaining authenticity in your abstract photography, and how do you define authenticity within your practice?
Maintaining authenticity in all my photography is of immense importance for me. All of my artwork begins with in-camera photography followed by post production computer enhancement. myself. I only make and show pictures which I like.
What draws you to multi-exposure as a technique? Is it more about layering emotions, layering time, or layering visual memories? And how do you decide when an image feels complete?
Multi-exposure means all that to me. For me it feels like having unlimited possibilities to create art with multi-exposure photography. As I do in-camera multi-exposure, there is a natural limit of layering time. However even that is in some way possible to alter. Such as by layering very old objects with new ones. As I have a camera which shows me each new result, I stop when I have what I would like to express.
Your statement speaks about capturing the mystic of nature. In your view, is this mystic something inherent in the world, or is it something the artist actively brings to the surface through their lens?
For me both is true. I see so much mystic in the world, in nature, with all the animals, so much beauty and wonder around. The artist has the possibility to show and highlight the mystic through his art.
Looking ahead, what new challenges or themes are you eager to explore in your photography, and how do you see your work evolving in response to the rapidly changing dialogue around contemporary art and the environment?
I am going to try out new ways of experimental photography, which I think is an infinite field. Here, I am also thinking about integrating different objects such as animals. In addition, I have purchased an old Hasselblad and look forward to taking analog photographs and see where this leads me.
Although there is a lot of chaos and trouble all around, I don’t intend to get bitter or sarcastic. With my art I aim to show what is beautiful, what gives hope, what needs to be protected and respected.
I think for me it is most important to stay curious and to keep exploring. I will follow my inner feelings, looking for answers to my questions. I want to experience joy with my art and keep my authenticity.