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...Slate sand is gray, almost incredibly gray-gray. Hans Danuser's photograph's of slate sand are gray. A kind of one-to-one color image. The black-and-white of Hans Danuser's photographs is a realm of infinite hues of grays – his Hell-Dunkel (bright-dark), as he calls it. And here, for once, the colors are real. Black-and-white photography, usually an abstraction from the real riches of color, unexpectedly acquires a naturalist quality. But Danuser's gray world always has its very own specialties. The sum of all colors of the spectrum is gray. Gray, in a contrast to black and white, is not an absence of colors, but rather their sum. It is not created by subtracting, but by adding colors...
Text Urs Stahel > download

EROSION II – Floor installation, 2000–2006
6 parts ( II 1 – II 6 ), Silver gelatine print, 59 x 55” each,
mounted on 2 mm aluminium sheed behind 4 mm denglas pane
Collection George Reinhart / Fotomuseum Winterthur, Photograph: Christian Schwager

Erosion I
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EROSION I – Floor installation, 2000–2006
18 parts ( I 1 – I 18 ), Silver gelatine print, 59 x 55“ each,
mounted on 2 mm aluminium sheed behind 4 mm denglas pane
Courtesy Fotomuseum Winterthur, Photograph: Christian Schwager

Erosion III
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EROSION III – Floor installation, 2000–2006
9 parts ( III 1– III 9 ), Silver gelatine print, 59 x 55“ each,
mounted on 2 mm aluminium sheed behind 4 mm denglas pane
Collection Walter A. Bechtler / Kunsthaus Zürich, Photograph: Christian Schwager