My works

The motives of these photographs are usually taken from the television, because the flood of images freely flows into my apartment.

The controlled blur (defocused) denies the viewer the exact information about the illustration. Mostly this is required of photographs.

The blur is so focused that even the grain disappears, and the tonal values and colors are as fluent as in a photogram. Usually I take smaller changes in contrast and color balance on my computer.

The photo is brought on 3 mm thick dibond plate and ist protected with a UV masks. They are fitted with a distance of about 5 cm from the wall - quasi floating.The blur contrastes with the sharp picture limit. The back of the plates is provided with a colored film, so that the reflection throws a slightly coloured shade on the wall.

While the viewer moves around the room, approaching and removing, it will have the mutability of his perception and his image viewing experience. Is the illustration once assigned a content, it is difficult to get back from this and to solve any other way to interpret something. Approach brings no benefits in clarity, the image hide with each step, details refuse the access and hide favorably behind colored surfaces. Only a certain distance allows contour sharpness and a recognition of the illustration, a final uncertainty, however, a mystery remains.

The single images of the multipart works are not in a recognizable, but understanding context. I want to give a push to start up the imagination of the viewer in any direction.


Boris von Brauchitsch

The unfocused in art has a long history dating back to the Renaissance and inseparable from the witnessing of natural phenomena. Environment, darkness and fog take us into the diffuse and secretive. In traditional photography textbooks, focus was deemed most valuable and, until the emergence of automatic cameras, made taking photographs visibly difficult for amateurs. Thus, the production of out of focus photographs did not begin it’s triumphal procession as an art form until the last 20 years of the 20th century, with the exception of a brief stint in post-impressionist 1900. One may ask if the differentiation between focus and unfocused qualifies as a stylistic criteria. Let’s say that the variety of the artist who experiments with unfocused photography, is similarly comparable to that of the photographer who is committed to focused pictures.

Jens Nagels develops a very special acquaintance with the stylistic device of “unfocusing.” His career as a photographer was preceded by his painting studies in Düsseldorf. It is unmistakable that his photography, which as a rule does not reproduce nature but rather second hand reality through foreign color intensified visions, perpetuate his beginnings as a painter. As a gourmet sorts out his delicacies from what gushes out of of the television in his apartment: “ I am not a hunter, but rather a collector,” Nagels says. His two part work conveys the impression of the romantic and closure, the grains themselves lost in a logical color gradient, apparently striving to flow into each other in the assigned pictures, and simultaneously becoming quelled through the sharp edges of the picture border. The photographs live for a disoriented balance: limitation vs. liberation, traditional photographic images vs. pictorial photography, images vs. a denial of information. And that convesys itself to the viewer whose viewpoint ideally swings between the desire for concrete identification and the desire for free interpretation.

pfeil Rooms

pfeil Scene of crime

pfeil Couples

pfeil Far East


pfeil Informationen


pfeil Exibitions


Diffrent experimental documentary short films
of varying length, 2 to 10 minutes.
Contact, adress, phone, email
and some inks.
Photographs on your own behalf; small series on various topics
and from different places in the world,
a personal photo-archive.
Furthermore you will find some works on behalf of
diffrent clients.