History of origin:
‘Symmetry of Fall’ was created on an unusually gloomy May day on the Rhine front - a weather caper that suddenly lent autumnal features to what was actually a spring-like landscape. Fascinated by this unexpected change of mood, the picture captured the moment in which the seasons symbolically overlapped. The work explores how light and atmosphere can change our perception of time and nature and deliberately plays with this discrepancy between calendrical and perceived reality.

Description:
Through Intentional Camera Movement (ICM) with a horizontal sweep during the journey, the dancing rows of vines are transformed into rhythmic, almost graphic structures. The technique emphasises the geometric arrangement of the vineyards, while at the same time dissolving their rigid order. The unusual brown-green tonality of the dull light creates a melancholy mood that would be typical of late autumn - but the delicate shoots of the vines betray the true season. 

Special features:
‘Symmetry of Fall’ is unique in its temporal ambivalence - it is a spring painting in autumn disguise. While other works in the series have clear seasonal references, this work deliberately plays with this irritation. The almost monochrome colour palette (a rarity in the Rheinhessen series) and the strongly emphasised symmetry of the rows of vines also formally set it apart from the other works. The contrast between the strict layout of the vineyards and the flowing movement of the photograph creates a special tension.

Connection to the exhibition:
The work epitomises the exhibition theme ‘Between Reality & Vision’ through its subtle questioning of objective facts. It shows how easily our perception can be deceived by external factors - and how art can consciously explore these boundaries. The viewer is invited to ask themselves: What is a genuine natural phenomenon, what is interpretation?

Reference to Rheinhessen:
Here, the Rhine front does not stand for postcard-like beauty, but for the surprising nuances of the region. Even on ‘imperfect’ days, the landscape reveals its aesthetics - a tribute to the authentic, unadorned side of viticulture. The austere rows of vines also refer to the centuries-old culture of landscape design in Rheinhessen, where human order and nature are in dialogue. The title deliberately plays with this interplay: the ‘symmetry’ is man-made, the ‘autumn’ (fall) a natural illusion.