FOUNTAIN PROJECTS x

Lennart Selling

Together with Leipzig based photographer Lennart Selling we worked on a series of limited editions which we first presented in our exhibition „when artists come together“. Leo is self-taught, extensively studying the work of others in both photography and film. As he travels the world, he takes his analog camera where ever he goes, capturing his unique perspective on scenes of everyday life. Leo’s use of color and composition was especially interesting to us, as it always feels extremely energetic and yet intimately personal. 

ON-GOING

HUAYNA POTOSI

In 2014, I went on an unintentional solo-trip to Brazil, Bolivia, and Peru. I celebrated my birthday in La Paz, scraped together my birthday money and tried my hand at mountaineering. I'm very glad I did: Watching the sunrise from the top of the Huayna Potosí is one of my greatest memories. I actually don't remember taking this photo - altitude sickness got the better of me, and most of the way up is a blur.

TO FIND OUT MORE ABOUT THE ARTWORK

 

COLO-I-SUVA FOREST PARK

Most trips I take, I take with my brother. We work well together, him in front of, me behind the camera. He had been living in Fiji for a while when we came to visit and took us to the Colo-I-Suva Forest Park. We took a cab up there and hardly met any other visitors. Away from the touristy hustle of Nadi and the busy streets of Suva, it was easy to get lost.

TO FIND OUT MORE ABOUT THE ARTWORK

MID-LEVEL ESCALATORS

In December 2017, I got to visit Hong Kong for a few days My brother had been here before while working on a container ship in the South Chinese Sea, and he was keen to show me around. I have been lucky enough to have visited a few large cities in East and Southeast Asia, and they don't fail to amaze me: Their dynamic is, in my opinion, unparalleled anywhere in the world. There is no doubt about the fact that there is a darker side to all of this, but the raw energy of millions of people pushing forward is hard to deny. In my Hong Kong-series, I have been trying to explore and document some sides of this multifaceted city on film: I have intentionally kept away from street photography, which I personally consider too voyeuristic, and drawn an image of a city (mostly) without people, in which the city itself takes the lead role.

TO FIND OUT MORE ABOUT THE ARTWORK

LIZARD POINT

Despite growing up in the Ruhr district, I've always felt at ease at the sea. When I visited my mate Jake's family in Cornwall, they took us down to Lizard point. Here, at the southern

TO FIND OUT MORE ABOUT THE ARTWORK

YI GOR (GUAN YU)

In December 2017, I got to visit Hong Kong for a few days My brother had been here before while working on a container ship in the South Chinese Sea, and he was keen to show me around. I have been lucky enough to have visited a few large cities in East and Southeast Asia, and they don't fail to amaze me: Their dynamic is, in my opinion, unparalleled anywhere in the world. There is no doubt about the fact that there is a darker side to all of this, but the raw energy of millions of people pushing forward is hard to deny. In my Hong Kong-series, I have been trying to explore and document some sides of this multifaceted city on film: I have intentionally kept away from street photography, which I personally consider too voyeuristic, and drawn an image of a city (mostly) without people, in which the city itself takes the lead role.

TO FIND OUT MORE ABOUT THE ARTWORK

KARL SKATING

Truth is: I can't skate at all. That didn't stop me as a kid from consuming skate magazines and admiring the scene from a distance. So when I got the chance to tag along with a few of my mates, I was down. This is one of my favourite shots from that (ongoing) series, if alone for it's simplicity.

TO FIND OUT MORE ABOUT THE ARTWORK

HIGHRISE

In December 2017, I got to visit Hong Kong for a few days My brother had been here before while working on a container ship in the South Chinese Sea, and he was keen to show me around. I have been lucky enough to have visited a few large cities in East and Southeast Asia, and they don't fail to amaze me: Their dynamic is, in my opinion, unparalleled anywhere in the world. There is no doubt about the fact that there is a darker side to all of this, but the raw energy of millions of people pushing forward is hard to deny. In my Hong Kong-series, I have been trying to explore and document some sides of this multifaceted city on film: I have intentionally kept away from street photography, which I personally consider too voyeuristic, and drawn an image of a city (mostly) without people, in which the city itself takes the lead role.

TO FIND OUT MORE ABOUT THE ARTWORK

 

ABOUT LENNART

I only shoot 35mm film and limit myself to little and simple equipment. I find this limitation freeing: It leaves me with the freedom to not have to worry about technical aspects or gear and fully focus on the moment I'm in. I own a number of SLR bodies, but only one 50mm lens, and a number of point and shoot cameras. One of those is with me at all times. In my photography, I try to capture what I see: Fleeting, intimate moments that I am afraid to forget or lose.

ARTIST INFLUENCING HIM

I'm not classically trained, so there is a broad range of artists that have influenced my aesthetic along the way, either directly or indirectly. There is Cindy Sherman and her uncanny ability to condense a whole story into a single image. There is Swampy and his way of meticulously documenting his life while leaving it a secret. There is Dorothea Lange's documentary work on the Dust Bowl. There is Jürgen Teller, Nobuyoshi Araki, and there are many others.

ONE SENTENCE ABOUT HIM

I go through life with open eyes, trying to capture moments I'm afraid to forget.

This site was designed with the
.com
website builder. Create your website today.
Start Now