(link)
And see here Muller inhabits the generic image of lake, Lake Zurich, and although the images are “his,” their interchangeability with any lakeside photograph known from a collective memory, produces an opaque identity; It is hard to see “Kaspar” or his subjective "hand" through the photographs "which contains things under its surface that can’t be seen. It’s like a mirror in which you search for deeper things, but just reflect yourself. One will want to read something into it, force it even, because it’s not acceptable for it to stop there. Only very hard-boiled reception would leave it there, then it would feed from disappointment and tragedy because more was expected. But one might assume there must be a dark potential. Or a twin potential. That there must be another side. If not, the rejection of any depth would almost amount to aggression." A photograph as severance, a wall between you and Kaspar like a guillotine.
See too : Kaspar Müller at Federico Vavassori , Seven Reeds at Overduin
