Matthias Heiderich is a self-taught German who lives and is employed on Berlin, Germany. Hisurban photographies are characterized, on one hand, by the composition: in them the geometry is a fundamental element, where the lines, plots or paces are the protagonists; and for other one, for the intensity of his colors, which always follow the same chromatic line: celestial, orange, yellow, pink, managing to transform his palette of colors into a personal stamp.
Heiderich studied linguistics and had no interest in photography until he hit 27. But buying his first camera in 2008 left him completely hooked on documenting cityscapes on film, delightedly experimenting, editing colours, boosting saturation levels.
The cream colours of Matthias Heiderich’s photographs are more likely to remind you of a 1950s seaside town than a gritty urban landscape.
“To me photography is very much like painting. It’s a good medium to create something which hasn’t been there before by taking real life objects out of their contexts, rearranging them, and freezing them in time. It’s nice to get lost in the process and to create something visual you can look at afterwards”.
Matthias Heiderich makes our world look a little brighter. The interesting thing about his fantastic architectural photographs is not just the candy colours of the buildings that he has a strong knack for picking out, but perhaps the dramatic change of tone as you switch from one of his projects to the next. In an almost comical fashion we are admiring a set of artificially rainbowed warehouse structures and then, we are then dropped into a misty and deserted basketball court, or beside a terrifyingly soviet concrete building.
The cream colours of Matthias Heiderich’s photographs are more likely to remind you of a 1950s seaside town than a gritty urban landscape. His sublime pastel palette paints the city as a minimally abstract work of art, a geometric tapestry of baby blue diagonals, soft angular shadows, clean blocks, pale yellow signage, minty green grass and turquoise skylines. Matthias Heiderich can make even brutal Soviet bloc architecture look utterly delicious.
For years, architecture has been recognized as an undisputable trademark of German photography. From Albert Renger-Patzsch to Karl-Hugo Schmölz and of course Would remove, sounds a little pedantic Hilla and Bernd Becher, many innovators of architectural photography are indeed German. German photography has led the world into a new understanding of our relationship to the urban and man-made environment. It revealed how photographs of architecture are important, not only as art, but also as a testimony of time, trends and evolution, as documentary of buildings that have since been destroyed. Matthias Heiderich’s photos are not the exceptions to the rule. The influence of the German tradition is omnipresent in his work. With the same rigor and pragmatism as the Bechers, Heiderich also creates typologies of industrial buildings and structures. Just like them, he isn’t interested in the human form and yet each of his photos is full of humanity, emphasizing how each building is a product of human mind and skill.