My artistic practice moves between image, wall-based object, sculpture, and installation. Its point of departure is photography—particularly the question of how images are produced, supported, protected, damaged, and displayed. I am less interested in distinct motifs than in the material conditions of visibility: surfaces, layers, reverse sides, frames, light, reflections, and traces of use.
My works combine acrylic glass, mirrors, metal, fluorescent colours, photographic fragments, found objects, and materials associated with packaging and transport. Image surfaces detach themselves from the wall, become spatial bodies, and reveal their construction. Supports, edges, hinges, and traces of fabrication remain deliberately visible.
The resulting hybrid objects oscillate between precise composition and controlled instability. They change with light, perspective, and the viewer’s movement. My work approaches the image not as a closed surface, but as an open and vulnerable apparatus—situated between attraction and dissolution, museum display and provisional construction.
Biography
Lars Plessentin (b. 1985 in Rostock) is a Berlin-based artist working across photography, wall-based sculpture, object, and installation. He studied Product Design, graduating in 2013, and has exhibited in Germany and across Europe since 2010.
Raised among old cameras, family photographs, and nineteenth-century encyclopaedias on photographic development, Plessentin initially approached art through painted walls and the physical transformation of surfaces and spaces. During his studies, analogue and experimental photography became his artistic point of departure. Over time, his focus shifted from the photographic motif towards the material and technical conditions of the image: its supports, layers, frames, reverse sides, light, construction, and traces of use.
In his current practice, images detach themselves from the wall and become spatial bodies. Reflective surfaces, metal structures, acrylic glass, photographic fragments, fluorescent colour, found materials, and provisional fixings form hybrid works between image, sculpture, design model, and damaged display system. Elements usually concealed—supports, hinges, packaging, transport traces, and improvised mounts—become visible components.Plessentin’s works oscillate between precision and instability, attraction and disintegration. By exposing the structures behind presentation, he treats the image as an apparatus shaped by material, labour, architecture, light, and the viewer’s movement.