Swing, Amsterdam

Piezography
size: 100 x 145 x cm / 39 " x 57”
year: 2023

The artwork ‘Swing’ captures people dancing in Amsterdam's Oosterpark.
While dance is often enjoyed as a form of entertainment, it carries deeper cultural and social significance
such as expressing emotions, celebrating traditions, and strengthening communities.

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

Phoenix

Piezography
size: 145 x 100 x cm / 57 " x 39”
year: 2023

This series emphasizes that play, akin to art, serves as a bridge that connects people and cultures. ‘Phoenix’ is an image set in Amsterdam's De Bijlmer and depicts children playing during a party at their sports club.

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

Back Side, Amsterdam

Piezography
size: 100 x 145 x cm / 39 " x 57”
year: 2022

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

Schauspiel, Frankfurt

Piezography
size: 200 x 288 cm / 79” x 113”
year: 2024

…Usually, Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood that is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

Nelson Mandela Park, Amsterdam

Piezography
size: 100 x 145 x cm / 39 " x 57”
year: 2021

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

42, Seoul

Piezography
size: 120 x 173 x cm / 68 " x 47”
year: 2013

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

22, Amsterdam

Piezography
size: 120 x 173 cm / 68" x 47”
year: 2013

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

HL 11, Xiamen

Piezography
size: 100 x 80 x cm / 40 " x 32”
year: 2015

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

Kornati Splash

Piezography
size: 100 x 145 x cm / 39" x 57”
year: 2019

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

Gravitation

Installation view at Gallery Hilgemann
Berlin 2010

Homo Ludens 22

installation view Gallery Andersson/Sandström, Stockholm

Piezography
size: 120 x 173 cm
year: 2013

HL 8, Amsterdam

Piezography
size: 120 x 173 x cm / 68" x 47”
year: 2017

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

Gravitation

Piezography
size: 100 x 137 x cm / 40 " x 54”
year: 2010

…Usually Katrin Korfmann already makes it difficult for the viewer by adopting a birds-eye or aerial perspective, as we always want to see people frontally, in daily life and because we have been taught to see that way through art history. Korfmann makes that skewed perspective even more extreme by giving each jumping or running child an elongated shadow. And there we can see at once the humor in this work… In the pools of black which cling to the children we can unmistakably see projections of the childlike form, but those black projections lead a life of their own, dominate the flesh and blood which is being portrayed and transform them into a team of peculiar Barbapapas. As you start to follow that spooky dance, your eye skims the whole image, up to and beyond the edge of the frame, and then shoots back and forth between the shadow and the real human form… (from: "Homo Ludens" by Tineke Reijnders)

Piezography
size: 90 x 62 cm / 35" x 24”
year: 2024

In Bigger Splash, Katrin Korfmann presents an apparently playful scene of turquoise water and foaming waves. The perspective draws the viewer into a tableau of figures diving into the water, evoking a sense of freedom and joy. 

Yet beneath this light, playful atmosphere lies a subtle struggle with gravity and water. What at first appears to be a fleeting snapshot reveals itself as a carefully composed depiction of a dynamic and imaginary time-space landscape. Every detail contributes to an intense experience of movement and space.

In this frozen moment, everything hangs in balance, poised to shift from joy to challenge, from play to unpredictability.