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Art history knows it well - human skulls, burnt candles, decaying flowers are typical features of Vanitas still-lifes, one of the earliest examples of the still life genre in European painting. With its allegorical compositions, the works carried a hidden deeper meaning, warning viewers of the transience of human life, beauty, power, wealth, and the grand insignificance of material achievements. In Vanity Fair, Peter Hauser takes this motif in a slightly different manner, the focus on flowers and chemical properties of photography. Flowers are for him just a fancy-looking tool for procreation, whoring about for pollinators.
Similar for photography and it's mediated "reality", it doesn’t give you what you desire —it tells you how to desire. Silver gelatine prints display flowers shot with direct flash at night at Pfingstweidpark in Zurich. The gallery, a dark room, illuminated with red light, a peep show of images under strict conditions. Flirting with lights creates an almost dramatical tension - albeit a highly symbolical one - the decay of images occurs evidently, along with the fleeting of the flowers. Peter gives the concept of photographic stability a whole new reading, explicitly with ephemeral sensuality.