The Dawn of Everything / The kids won’t be fucking allright – synthetic photography series.
👁 77 |
| 2026-01
Die Abkehr von der Farce beginnt dort, wo man aufhört, Forderungen an die Macht zu richten, und beginnt, die Macht selbst aufzubauen und auszuüben – in Parks, Büros, Fabriken, Schulen, Stadtteilen, auf dem Land und in den Köpfen.
growhouse
the growhousers
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-
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Documentary close up crooked film dynamic still, upper body, shallow depth of field. Heavy film grain, scratches, dust, authentic color shift, dirty lens with subtle light smears.
Two androgynous women in their 30s, with realistic tattooed skin , captured in a moment of proud wild, weird funny posing form half side.
huge massive exotic jungle plants with some colored leafes, palms, trees, tomatoes, beans and fruits, used distressed improvised greenhouse, grow lights.
the women hold up several huge very tall, exotic plants with visible all white translucent wet dirty thin long mangroves roots proudly. The plants are hung down rom the ceiling.
the growhouse is very totally packed with huge plants, that are grown high up till the ceiling. the growhouse is repaired deformed with natural wood and cables.. there is some car wrecks used as weird recycled growhouse elements.
there is pink LED grow lights hanging down from the ceiling of the growhouse. water dust, fog clouds.
woman wears self-made outfits.
Headpieces are loose, ethereal macrame masks made from thin, delicate yarn made of translucent black wet and dirty bio material yarn. The abstract, curved forms feature long, drifting fringes that partially obscure the face and move with their posture.
TECHNICAL: Shallow depth of field. motion blur.
at late sunset.
dance battles
the battle dancers
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-
-
Documentary close up film dynamic still, full-body dynamic angle, shallow depth of field. Heavy film grain, scratches, dust, authentic color shift, dirty lens with subtle light smears.
Two androgynous woman and man in their 20s, with realistic tattooed skin , captured in a moment of wild, proud posing. man vs woman.
In dance battle, stage. both women are wildly dancing. arms dance in the air. wild flowing hair.
both women wear eccentric, dance used distressed repaired sports outfits, self-made outfits.
Headpieces are loose, ethereal macrame masks made from thin, delicate strands of white and black yarn. The abstract, curved forms feature long, drifting fringes that partially obscure the face and move with their posture.
TECHNICAL: Shallow depth of field. motion blur.
stage lights.
the sewers
the sewers
-
-
-
Documentary film still, full-body dynamic angle, shallow depth of field. Heavy film grain, scratches, dust, authentic color shift, dirty lens with subtle light smears.
Three androgynous persons in their 40s, with realistic tattooed skin and a sweaty sheen, captured in a moment of wild, proud posing on a worn, richly patterned rug.
They wear eccentric, self-made haute couture: deconstructed oversized hoodies, pants, dresses, overalls, and crop tops. Each outfit is a vivid collage of used, recycled fabrics and knitwear, inspired by Bauhaus geometry and Craig Green’s utilitarian detail. All clothing is visibly worn and textured. Their footwear consists of well-worn, colorful sneakers.
Headpieces are loose, ethereal macrame masks made from thin, delicate strands of white and black yarn. The abstract, curved forms feature long, drifting fringes that partially obscure the face and move with their posture.
Each person holds a vibrant, embroidered silk object—a flag or soft sculpture—featuring contemporary patterns.
ENVIRONMENT:
Foreground (blurred): Vintage sewing and overlock machines on the rug. A chaotic, beautiful scatter of yarn snippets and fabric scraps.
Background: A vast studio illuminated by bright, diffuse daylight from huge windows. Dominated by massive, towering piles of vividly colorful, recycled clothing. The piles are strictly sorted and packed into bold, monochrome spectrums—a precise mountain of only fiery reds, a peak of only electric blues, a hill of only sunny yellows—creating a saturated, textured wall that reaches the ceiling.
TECHNICAL: Shallow depth of field. Sharp focus is on the subjects and their clothing. The foreground machinery and the strictly sorted background clothing piles are artistically blurred into abstract fields of color and shape.
inferno
fighting the inferno
-
-
-
realistic analog documentary photography of
three adult androgyn female persons in their 40s in casual 90s clothing,
realisitic tattooed skin,
wild posing
overgrown, mossy forest ground.
a huge inferno dry forest in the background. huge flames over the entire horizon. smoke. dried out forest. small mountains that are all on fire.
there is handmade macrame and knitted textile pieces hung between two tree branches in the background made from black and white yarn with complex patterns with long fringes and trims.
the persons sadly pose on a used detailed rug floor. They all have pieces of wood, and moss in their hands.
all persons wear detailed handmade DIY macrame abstract head masks made from thin white and black yarn with long fringes and trims. looe yarn.
the clothing of both persons looks used and repaired with handmade sewings. hoodies, crop tops, used sneakers. used combat boots.
strong film grain. dirty lens.
late sunset.
rehearsal
rehearsal
realistic analog documentary photography of
three adult androgyn female persons in their 40s in casual 90s clothing,
realisitic tattooed skin,
wildly posing in front of their instruments,
in a messy used rehearsal room with used brown, black white rugs on the wall, with used amplifiers, drums, synthesizers, drumsets.
there is handmade macrame and knitted textile pieces on the wall made from black and white yarn with complex patterns
one person in the front lies flat on the back on the rug floor with a microphone in the hand, and a long microphone cable.
all persons wear detailed handmade macrame head masks made from thin white and black yarn with long fringes and trims.
the clothing of both persons looks used and repaired with handmade sewings. hoodies, crop tops, used sneakers. used combat boots.
strong film grain. dirty lens.
spot lights
we are drawing
we drawing
-
-
-
analog amateur documentary photography of
two adult female androgyn persons in casual 90s clothing
both person sitting on a used couch drawing each a drawing with pencil.
a third person is lying flat on the sofa sleeping in the background.
there is speakers, old mobile phones and an acoustic guitar on the floor and lying around.
all persons wear a detailed handmade macrame head mask made from thin white and black yarn with long fringes and trims.
the clothing of both persons looks used and repaired with handmade sewings. hoodies, crop tops, used sneakers.
there is dried flowers bouquets hanging top down on the wall in the background.
there is abstract pencil drawings pinned to the wall in the background.
strong film grain. dirty lens.
late a night, cosy spot lights.
The altar
the altar
-
-
-
analog documentary full body low key motion blurred photography of
two adult androgyn female persons in casual 90s clothing holding each others hands, hugging each other in love, sitting in front of a street corner in emotional poses, holding each others in the arms, leaning backwards on the floor with untidy died hair.
head is leaning on the shoulder.
there is a DIY altar made from power banks, natural wood, moss, creepers and wild grass and dried flowers, and white electronic wires crochet and solar cells – within a huge crack in the concrete.
both persons wear a detailed handmade macrame head mask made from thin white and black yarn with long fringes and trims. the masks cover the entire head.
the clothing of all persons looks used and repaired with handmade sewings.
strong film grain. inclined plane. low contrast. motion blur. dirty lens.
photo made at sunset
out of focus, motion blur.
there is an upside down all black car wheel-less wreck without wheels in the foreground
Die primäre Verantwortung der Kunst in der Transformation liegt nicht in der Abbildung, sondern in der Neuprogrammierung der Vorstellungskraft. Das System assimiliert kritische Narrative, weil unsere kollektive Imagination von Alternativen zu schwach ist.
Theorie: „Radical Imagination“ (Haiven & Khasnabish) – Die radikale Imagination ist keine individuelle Flucht, sondern eine soziale Praxis, um die Grenzen des „Möglichen“ zu durchbrechen. Kunst, die diese Rolle ernst nimmt, betreibt nicht Kommentar, sondern kollektive Futurierung.
Ableitung: Die Kunst muss Räume schaffen, in denen das „Undenkbare“ (Post-Kapitalismus, Post-Wachstum, tiefe Demokratie) sinnlich, emotional und konkret erfahrbar wird. Sie muss der „Realismus“ der Macht („There is no alternative“) einen überwältigenden, attraktiven Realismus der Möglichkeiten entgegensetzen.
—
Das Private politisch machen: Intime Performances, kollaborative Tagebücher, kulinarische Interventionen – die Verletzlichkeit als kollektive Stärke.
Die Abkehr von der Farce beginnt dort, wo man aufhört, Forderungen an die Macht zu richten, und beginnt, die Macht selbst aufzubauen und auszuüben – in Parks, Büros, Fabriken, Schulen, Stadtteilen, auf dem Land und in den Köpfen.
growhouse
the growhousers
Documentary close up crooked film dynamic still, upper body, shallow depth of field. Heavy film grain, scratches, dust, authentic color shift, dirty lens with subtle light smears.
Two androgynous women in their 30s, with realistic tattooed skin , captured in a moment of proud wild, weird funny posing form half side.
huge massive exotic jungle plants with some colored leafes, palms, trees, tomatoes, beans and fruits, used distressed improvised greenhouse, grow lights.
the women hold up several huge very tall, exotic plants with visible all white translucent wet dirty thin long mangroves roots proudly. The plants are hung down rom the ceiling.
the growhouse is very totally packed with huge plants, that are grown high up till the ceiling. the growhouse is repaired deformed with natural wood and cables.. there is some car wrecks used as weird recycled growhouse elements.
there is pink LED grow lights hanging down from the ceiling of the growhouse. water dust, fog clouds.
woman wears self-made outfits.
Headpieces are loose, ethereal macrame masks made from thin, delicate yarn made of translucent black wet and dirty bio material yarn. The abstract, curved forms feature long, drifting fringes that partially obscure the face and move with their posture.
TECHNICAL: Shallow depth of field. motion blur.
at late sunset.
dance battles
the battle dancers
Documentary close up film dynamic still, full-body dynamic angle, shallow depth of field. Heavy film grain, scratches, dust, authentic color shift, dirty lens with subtle light smears.
Two androgynous woman and man in their 20s, with realistic tattooed skin , captured in a moment of wild, proud posing. man vs woman.
In dance battle, stage. both women are wildly dancing. arms dance in the air. wild flowing hair.
both women wear eccentric, dance used distressed repaired sports outfits, self-made outfits.
Headpieces are loose, ethereal macrame masks made from thin, delicate strands of white and black yarn. The abstract, curved forms feature long, drifting fringes that partially obscure the face and move with their posture.
TECHNICAL: Shallow depth of field. motion blur.
stage lights.
the sewers
the sewers
Documentary film still, full-body dynamic angle, shallow depth of field. Heavy film grain, scratches, dust, authentic color shift, dirty lens with subtle light smears.
Three androgynous persons in their 40s, with realistic tattooed skin and a sweaty sheen, captured in a moment of wild, proud posing on a worn, richly patterned rug.
They wear eccentric, self-made haute couture: deconstructed oversized hoodies, pants, dresses, overalls, and crop tops. Each outfit is a vivid collage of used, recycled fabrics and knitwear, inspired by Bauhaus geometry and Craig Green’s utilitarian detail. All clothing is visibly worn and textured. Their footwear consists of well-worn, colorful sneakers.
Headpieces are loose, ethereal macrame masks made from thin, delicate strands of white and black yarn. The abstract, curved forms feature long, drifting fringes that partially obscure the face and move with their posture.
Each person holds a vibrant, embroidered silk object—a flag or soft sculpture—featuring contemporary patterns.
ENVIRONMENT:
Foreground (blurred): Vintage sewing and overlock machines on the rug. A chaotic, beautiful scatter of yarn snippets and fabric scraps.
Background: A vast studio illuminated by bright, diffuse daylight from huge windows. Dominated by massive, towering piles of vividly colorful, recycled clothing. The piles are strictly sorted and packed into bold, monochrome spectrums—a precise mountain of only fiery reds, a peak of only electric blues, a hill of only sunny yellows—creating a saturated, textured wall that reaches the ceiling.
TECHNICAL: Shallow depth of field. Sharp focus is on the subjects and their clothing. The foreground machinery and the strictly sorted background clothing piles are artistically blurred into abstract fields of color and shape.
inferno
fighting the inferno
realistic analog documentary photography of
three adult androgyn female persons in their 40s in casual 90s clothing,
realisitic tattooed skin,
wild posing
overgrown, mossy forest ground.
a huge inferno dry forest in the background. huge flames over the entire horizon. smoke. dried out forest. small mountains that are all on fire.
there is handmade macrame and knitted textile pieces hung between two tree branches in the background made from black and white yarn with complex patterns with long fringes and trims.
the persons sadly pose on a used detailed rug floor. They all have pieces of wood, and moss in their hands.
all persons wear detailed handmade DIY macrame abstract head masks made from thin white and black yarn with long fringes and trims. looe yarn.
the clothing of both persons looks used and repaired with handmade sewings. hoodies, crop tops, used sneakers. used combat boots.
strong film grain. dirty lens.
late sunset.
rehearsal
rehearsal
realistic analog documentary photography of
three adult androgyn female persons in their 40s in casual 90s clothing,
realisitic tattooed skin,
wildly posing in front of their instruments,
in a messy used rehearsal room with used brown, black white rugs on the wall, with used amplifiers, drums, synthesizers, drumsets.
there is handmade macrame and knitted textile pieces on the wall made from black and white yarn with complex patterns
one person in the front lies flat on the back on the rug floor with a microphone in the hand, and a long microphone cable.
all persons wear detailed handmade macrame head masks made from thin white and black yarn with long fringes and trims.
the clothing of both persons looks used and repaired with handmade sewings. hoodies, crop tops, used sneakers. used combat boots.
strong film grain. dirty lens.
spot lights
we are drawing
we drawing
analog amateur documentary photography of
two adult female androgyn persons in casual 90s clothing
both person sitting on a used couch drawing each a drawing with pencil.
a third person is lying flat on the sofa sleeping in the background.
there is speakers, old mobile phones and an acoustic guitar on the floor and lying around.
all persons wear a detailed handmade macrame head mask made from thin white and black yarn with long fringes and trims.
the clothing of both persons looks used and repaired with handmade sewings. hoodies, crop tops, used sneakers.
there is dried flowers bouquets hanging top down on the wall in the background.
there is abstract pencil drawings pinned to the wall in the background.
strong film grain. dirty lens.
late a night, cosy spot lights.
The altar
the altar
analog documentary full body low key motion blurred photography of
two adult androgyn female persons in casual 90s clothing holding each others hands, hugging each other in love, sitting in front of a street corner in emotional poses, holding each others in the arms, leaning backwards on the floor with untidy died hair.
head is leaning on the shoulder.
there is a DIY altar made from power banks, natural wood, moss, creepers and wild grass and dried flowers, and white electronic wires crochet and solar cells – within a huge crack in the concrete.
both persons wear a detailed handmade macrame head mask made from thin white and black yarn with long fringes and trims. the masks cover the entire head.
the clothing of all persons looks used and repaired with handmade sewings.
strong film grain. inclined plane. low contrast. motion blur. dirty lens.
photo made at sunset
out of focus, motion blur.
there is an upside down all black car wheel-less wreck without wheels in the foreground
Die primäre Verantwortung der Kunst in der Transformation liegt nicht in der Abbildung, sondern in der Neuprogrammierung der Vorstellungskraft. Das System assimiliert kritische Narrative, weil unsere kollektive Imagination von Alternativen zu schwach ist.
Theorie: „Radical Imagination“ (Haiven & Khasnabish) – Die radikale Imagination ist keine individuelle Flucht, sondern eine soziale Praxis, um die Grenzen des „Möglichen“ zu durchbrechen. Kunst, die diese Rolle ernst nimmt, betreibt nicht Kommentar, sondern kollektive Futurierung.
Ableitung: Die Kunst muss Räume schaffen, in denen das „Undenkbare“ (Post-Kapitalismus, Post-Wachstum, tiefe Demokratie) sinnlich, emotional und konkret erfahrbar wird. Sie muss der „Realismus“ der Macht („There is no alternative“) einen überwältigenden, attraktiven Realismus der Möglichkeiten entgegensetzen.
—
Das Private politisch machen: Intime Performances, kollaborative Tagebücher, kulinarische Interventionen – die Verletzlichkeit als kollektive Stärke.