In her analogue conceptual photographs, Claudia Angelmaier explores the relationship of original and copy or the interaction of image and text. Here, found material makes up her starting point: books, texts, postcards and slides thus become the protagonists of her visual orchestration. By depicting a work of art on the one hand and the medium of its representation on the other, her pictures bare the characteristics of double representation.

In her photograph “La Baigneuse Valpinçon”, 2008, the piece of art—the picture of a female bather by Ingres—is on the verge of disappearing behind its medium—the postcard. Angelmaier photographs the backside of the art postcard in a way that the rear-view figure depicted on the front side shines through—apparently fog—as a delicate facsimile of the original. What remains in the foreground of her seemingly abstract, highly aesthetical photographs are the denomination of the painting and its institutional classification.