Zeitlandschaft

The first iterations of Zeitlandschaft unfold as expansive landscapes, their near foreground sharply distinguished from a distant horizon through motion blur. The proximal reality of the present is rendered as a disappearance: a wiping away that reveals the permanence of nature beneath it. In this gesture, some works recall Richter’s erasures, where revelation is inseparable from concealment. Yet here the erasure is photographic, completed in a single shutter actuation. Civilizations pass; human intervention corrodes and vanishes; what remains is a return to the wholeness of nature.

The series moves progressively toward abstraction through manipulations of the lens, camera apparatus, and refractions of light. Still produced entirely within a single exposure and without digital augmentation, these works depart from the linear temporality of the initial Zeitlandschaften toward an experience of time as cyclical, recursive, and continuous.

A radical and ongoing inquiry into the document as an index of Time, Zeitlandschaft exemplifies Tamez’s sustained engagement with the nonphysical as her primary subject.