An image is no-thing but the anticipation of an (imagined) absence. This imagination implies the search for a lost present, for a former being-there: chasing the not-anymore, photography, whose only presence is its own absence, is always too late. Sarah Haas chases her own chasing. The scenographer translates the capture of a present moment into something autonomous; far from being time-less, her images do not claim to be temporal. Ephemera are made to last, the lasting made to dis-appear. Thus, Sarah Haas does not chase for appearances, but let them e-merge. Her images bear witness to the witness, a (decoded) punctum. Her images are not re-presenting the world; rather, she allows her worlds to present themselves. She observes while consciously changing the observed, arranges art-ificial scenographies while inverting her own conceptualizations. The outside turns into a within, into an intimate subvertion of alienated monotonies, scenes, landscapes, events. The other is made an own, any distance is abandoned. Sarah Haas chooses her images in order to be chosen by them, does not edit, but is edited. There is no after. Her realities are neither actual nor virtual, but personal– somewhere in-between, dis-covering what is hidden, hiding what ought not to bedis-covered.

text by Julia Hölzl