levels that lie behind

Photography is first of all a medium that depicts what image people perceive in their reality: Trees, sea, mountains, plants, cities...But there is more behind this first visible surface: structures, forms, surprising, threatening, grandiose, colourful, peaceful, quiet, to be discovered. That which at first glance can be quickly assigned to the known reality, leads at second glance to further levels.

A mountain ridge, towering, naked and bare, is answered in the foreground by a line of earth with subsidence like a countermovement to the towering. The hollow is slightly displaced from the axis of vision to the left and is balanced by the delicate light-coloured web of a cloud on the right side of the picture. The motif and the manner of composition create calm in the viewer and connect with the inner emotion of sublimity and grandeur.

Jo Schmid's paintings have an effect beyond the first glance. He abstracts and detaches from the assigned motif. Through the different ways of processing and staging he leads the viewer to new contexts, to changed values and to his own feelings.


Photography and the first glance Image

Trained as a classical photographer, he has been professionally involved in the métier of photography and photography for many years. He trained his eye on the images of photography of the forties, fifties and sixties: a sharp gaze, simple forms, straightforward objectivity, mostly black and white. However, the motifs often leave the familiar and visible of the first glance behind. Their unusual aesthetics, their pictorial composition lead beyond the limits of the first glance.

The technique - craftsmanship that makes visible

Jo Schmid appreciates the handicraft part of classical photography: the materials of the film, the laboratory, the prints, the negatives, the papers, the possibilities of analogue photographic work.

Bild Parallel to this, he has been open to the new digital media from the very beginning. In the last few years, he has worked intensively and extensively with these completely different forms of editing and interventions.  The decisive factor is the freedom that technical processing - analogue or digital - opens up based on the motifs depicted. Through handicraft and digital technology, completely new levels develop from the original form in the process of editing. Surprising forms, colours, references and also moods emerge from what has been photographed. The formative energy of the processing allows Jo Schmid to become a light-sculptor.  Picture

He not only processes the original motifs with different colours and forms of light. The haptic quality of his large picture formats on canvas, the different printing techniques or the selection from the very different paper substrates have an effect on the picture impression in the viewer. In preparation are murals, wall collages and triptychs, which unfold an even different effect through their form of materiality.

Becoming a picture - On the significant, the magnificent and the beautiful

Let us allow ourselves to define the "photograph" as something that is content with depicting the first glance, the surface. And the "image" as something that only develops in the viewer with the levels after the "photo", the first glance and the surface. The "picture" opens up strange, unknown spaces. Jo Schmid is concerned with becoming an image, the "significant" that exists as a possibility behind every first glance.

Significant does not mean "significant" objects, forms or gestures. Significance is simply there, in everything that is: mountains, sea, trees, clouds, plants, landscapes of every kind. It is not about "monumentality" or "drama". Every plant, no matter how humble, has it, the "meaningful". Image It is the surprising or one could also speak of "soul" that lies behind every external form. The modest or simply every being then becomes recognisable as "great". It shows itself at the border of the visible and the invisible in an extraordinary aesthetics and beauty that touches.

There is a beauty and aesthetics that is very much visible on the surface and at first glance. It is an aesthetic and beauty that should and can seduce. It stages the exterior in photo design with a high degree of perfection and attraction.

We are all familiar with it from advertising and the consumer world. Jo Schmid also knows her, well even. He could learn from her aesthetics to attract the viewer.


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