Claudio Gotsch photography is one that captures his subjects in their truest form. Whether it be animals or landscape, each visual displays a sense of realism and also air of clarity with Claudio always ensuring the subject is a priority – as it should be. We speak about many things, including his style but also his latest works at LUMAS.
AE: How would you describe your photographic style?
CG: My style is difficult to describe. I want to photograph wildlife that: is as natural and at ease as possible; is in interesting situations and poses; and is in an open environment – AND the photos also have to be the best possible quality so the details don’t get lost. This style is determined, wild, sometimes brutal, and completely unpredictable. You never know how and when the day will end or if you will even take a photo at all.
What’s in my photographs? A fox with the mountains reflected in its eyes, two ibexes locked in battle, or a majestic bearded vulture who appears to be looking directly into the camera. In every picture, the focus is exclusively centred on the animal. Every minute detail is visible, from the texture of the fur to the iris.
Occasionally, I have to let a picture go in order to be able to take a better one. I want to show things that are out of the ordinary.
AE: The aeshtetic of your Black Edition series is vastly different from that of your landscapes. Was it a conscious decision to work so differently?
CG: Yes. In the Black Edition I wanted to the focus on the animal and its beautiful details. I wanted to make the viewer aware of how interesting, diverse, and wonderful these animals can be. Nature is a miracle. The landscapes are a foil to that. Here, you see where the animals live, and the landscape here in the Engadine Valley is truly unique. But the animal could get downplayed in relation to the landscape, and no one would be able to filter out the animal’s beauty.
AE: How would you describe the relationship between you and the subjects? Do you always have to create a relationship to it?
CG: While actually taking the photographs, there is not really much of a relationship, because in that moment, I have my hands full making sure everything goes smoothly. The true connection is formed only when the animal’s soul is visible in the picture, when the beauty of that animal or act becomes clear for the viewer to see in all its glorious detail.
AE: Does that also apply to the landscapes?
CG: The same kind of connection doesn’t arise later with the landscapes. A landscape is something wonderful, and being able to capture it at the right time from the right perspective is wonderful. But to me, the landscape is not a living thing, and I only feel that kind of connection to living things. For example, I really love my loyal dog, but not my car.
AE: Your new works are now being exhibited by LUMAS. How did this come about?
CG: I have been a wildlife photographer for many years, which included shooting covers and photos for various magazines. Last year, LUMAS took notice of my work. For a long time, they had been toying with the idea of Engadine Valley photos. It quickly became clear that my Black Edition series and other photographs from the Engadine Valley were exactly what they were looking for. Now we are exhibiting the pictures in all of the LUMAS galleries – over 40 around the world. In May there will be special events in Basel and Zurich, where my work will be presented in a solo exhibition.
AE: What projects are you currently working on?
CG: My projects and dreams are still huge. There are so many animals I would like to photograph in special situations. My to-do list is long, but it is definitely fixated on animals! The local fauna are still my preferred subjects. And my eternal motto is: “There’s always room for improvement!”
Claudio’s works are one of 20 newly discovered and emerging artists added to Fine art photography gallery LUMAS‘ portfolio this spring. To see the full collections visit www.lumas.co.uk.
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