Just over 30 years after the fall of the wall, I took up the publication Berlin nach 45 by Michael Schmidt, not as inspiration or quotation, but as a kind of choreography. Using the same camera and format (13x18 sheets), I built analogous subjects, strict formal resonances, and at times, exact topographies.

Something about reenacting his parameters seemed to enforce an historical perspective. This occured in doubles: reading Schmidt’s series through the lens of the present, and present-day Berlin as both post-`89 and post-war. It helped me to position the ongoing flattening of Berlin by its financialisation.

This series comprises 55 hand-enlarged silver gelatine prints. The project began as an idea for a book.