These times of great uncertainty – when suddenly entire patterns of behavior and thinking and social, political and economical agreements, forged over decades of long struggle, are crushed and collapse – these are also the times of introspection and the beginning of a new creative turn. All catastrophes carry – as terrible as it might sound and also be – the birth of the new. One must only be able to sense it and develop the tools to see it. A critical mind is the prime prerequisite of creation. The according susceptibility for measuring these moods and vibes and turning them into new energy is common to all creative individuals, no matter in which discipline they are active in.
In such times hatred, anger and brutish, animalistic tendencies in us humans break free bluntly, encouraged and feeling comfortable in the great wave of like-minded people, forcing those who are undecided and insecure to leave their comfort zones, letting themselves be swept away into the new, big, alleged whole. Taboos as a set of rules for living together in a civilized manner, which is a great achievement of various societies that have went through many painful catastrophes, have become brittle. These tendencies threaten to break Europe apart. The old order of the world begins to falter; some old men play poker for supremacy, openly making use of people to serve their ruthless interests as if they were exchangeable resources. Nature, as part of God’s creation, is about to collapse irrevocably. The conflict between the north and the south, predicted already decades ago, has obviously entered our formerly ‘perfect world’. Fear is in the air. When Katja Flint in her photographical portraits brings out the entire spectrum of emotional states, working on these together with her model, she is concerned with mirroring the internal disparity of our emotions within ourselves and a general sense of inconsistency in the world. It is Katja Flint’s concern to elicit in her models a moment of soon emerging, overwhelming emotions, unknown at the beginning of the session, and an intimate affair in the process of working with her model. The artist, who in her other creative profession is a master of representing any kind of strong but also delicate and hardly noticeable emotions, can due to this experience – acquired in the form of acting techniques during her studies and refined constantly in the daily theatre life and new cinematic challenges but also thanks to her talent of empathetic intelligence – show solidarity with her model and gently direct him or her, now as visual director, according to her wishes.