Speculative Correspondences

Speculative Correspondences

Speculative Correspondences explores how photography can make more-than-human relations perceptible. Rather than depicting nature from a human perspective alone, Tscholl uses a range of photographic procedures: staged portraits, delegated recordings through wildlife cameras, and material co-production with light-sensitive materials placed in the forest. Through these processes, the forest itself becomes part of image-making.

Some images are found rather than constructed. Roots, trunks, and stones are photographed as forms already present in the landscape. Here, photography functions less as an act of shaping and more as a practice of attention, allowing latent forms within the environment to reveal themselves.

Another part of the project uses experimental analogue procedures. 35 mm film is left in darkness inside tree hollows or placed directly on the forest floor, where it is exposed to humidity, soil, and decay. Photographic materials are thus transformed by ecological conditions, and the resulting images are not simply captured but co-created by chemical and environmental agencies.

The resulting images are arranged into visual fields and constellations in which different photographic modes encounter and question one another. This structure opens up contrasts and comparisons, creating a media-diverse view of ecological life.