The work comprises of 3, 174cm x 174cm photographs (C-print Diasec ), each in turn being constructed from 4096x4096 square coloured points.

The digital world enables, through a mixing of 3 primary colours of varying intensities of 256 gradations, the generation of over 16 million different colours. In order to understand this, related to a 2 dimensional plane, Franzen’s approach is thus:
Colour 1 brightens from left to right, in the same way colour 2 from above to below. Lacking a third axis, the 3rd colour is then woven into the pattern of the others.
The resulting structure, constructed under explicit consideration of human eyesight and photo-technical possibilities, reveals the limitations of both these systems. By closer inspection it becomes possible to observe the smallest colour points, allowing a precise insight into the micro-structure, while equally, it becomes practically impossible to synthesise this back into the overall impression.
The observer is presented with a paradox. Seemingly effortlessly he is able to register the entirety of all colours, indeed the elementary structure is clearly definable ... — and yet he finds himself unable to transform both into a continuous experience. The process of reflection that each of the 3 photographs evokes, finds it’s extension in the consideration of the entire ensemble. The pictures, based on a completely contrary colour impression, differ clearly from one another, despite the fact that on each the same 16 777 216 colours are represented. It is the interwoven structure of the 3rd colour that dictates the entire impression: in the first it is red, in the second green and finally in the third blue.

From the simple reflection on the phenomenon of colour, more precisely, the modality of human perception, the focus gradually shifts to the reflection on the limitations of sensual capability in view of the almost infinite possibilities of digital generation.

Franzen’s seemingly decorative work covers this field. Once the observer
has penetrated the smooth surface of the digitally produced world of colour, without being led by the appearance, he realises that he can no longer trust his own eyes. Only now does the confusing potential of the beautiful shimmering plane become “visible”.

Fascination and critical analysis are the poles that define the field of con- ceivable confrontation with digital possibilities. Almost like a dance but especially: without bringing this suspence into a solved balance, Franzen’s work walks this world.

michael wefers

(Translation by Simone Schede)