| To exhibit something causes a break in reality. Suddenly, there is a stage where something is happening, a platform, a frame, and the display itself becomes just as prominent as the thing it’s displaying. Objects become a little strange when their relative autonomy is enforced. What interests me about the creation of genres is how each new genre is born out of its distinction to an old one. New genres exhibit the previously unknown, and they serve to disarm stale configurations.They keep the differences alive. That’s why I’m interested in expanding visual genres beyond their usual historic limits. I strive to create intelligent, competitive images. When I was 11 or 12 years old, I saw Tarkovsky’s film Andrei Rublev, which I have never forgotten. Tarkovsky’s two-part epic on the medieval painter Andrei Rublev was mostly filmed in black and white. | 
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Peter Friedl
Peter Friedl, Still from Untouched, 2008. Courtesy of the artist.To exhibit something causes a break in reality. Suddenly, there is a stage where something is happening, a platform, a frame, and the display itself becomes just as prominent as the thing it’s displaying. Objects become a little strange when their relative autonomy is enforced.
What interests me about the creation of genres is how each new genre is born out of its distinction to an old one. New genres exhibit the previously unknown, and they serve to disarm stale configurations. They keep the differences alive. That’s why I’m interested in expanding visual genres beyond their usual historic limits. I strive to create intelligent, competitive images.
When I was 11 or 12 years old, I saw Tarkovsky’s film Andrei Rublev, which I have never forgotten. Tarkovsky’s two-part epic on the medieval painter Andrei Rublev was mostly filmed in black and white. After all the atrocities and insanities of history, one saw the triumph of Rublev’s work at the end of the film—in color. Never again was a visual effect so effortlessly stunning.
People sometimes forget that the visual arts can’t exist in a vacuum. If you want to have an in-depth understanding of an artwork, a Giorgione painting, for example, you need other kinds of knowledge: its references, its historical context. Time is another crucial element: you don’t always understand everything immediately, and some artworks only release their secrets upon repeated viewings. If you have patience, you’re ultimately rewarded with more pleasure.
