[... And, we have no other choice but to view the individual image pieces in silent veneration until we too start to sway. ...] Freddy Langer
When someone sees the picture from a position with a sufficient distance between himself and the artwork, the observer will see a landscape of rocks in different shades of red and brown. Also without the indication of the caption it might be obvious that it is about the Grand Canyon. It is a phenomenon. From distance you see a whole picture, but close to the surface you get a comprehension for the artwork, made by a lot of little photographs, showing details of the landscape and producing a connected and cognizable picture. It is a new level of art, making plenty photographs to one photograph; an individual and unique designed landscape, filled with little pieces of reality, the effigy of Mother Nature. The combination of the giant and spacious landscape, thousands of years of unaffected nature and a produced camera, taking shots of this place and holding on a moment of a constant process, is an accomplishment itself. But taking parts of this monument, standing out for its inimitability, using incoherent details of red and brown rocks, blue sky, light and shadow, tearing them apart of any context and creating with these elements a new inimitability, a new Grand Canyon, is a step to experience the nature in an unusual manner and open up new vistas. Therefore the artist works with contrariness. A succession of incoherence and deconstruction resulting in reconstruction and the creation of something unprecedented equals a rebirth and a circular flow leading to a new visual language.
The Grand Canyon is already theme of a lot of artworks, but in the collections of Thomas Kellner it represents a new topic of interest. At least his famous artworks, consisting of a collage of contact sheets, refer to popular motives like the Grand Canyon. But instead of nature they reproduce fragments of architecture wherefore the Grand Canyon forms a first step in another section of popular motives, as it were architecture created by Mother Nature. Inspired by a collage of David Hockney, the artist applies himself today to a connection of his method called “visual analytical synthesis” and the theme which is at the same time the title, “Grand Canyon”. Besides this alteration of the motive a bigger dimension of his artworks is the ambition of Thomas Kellner. With 60 photographic films and 2160 individual pictures the described artwork becomes the biggest one the artist has created out of contact sheets and shows just as the nature theme a volition of achieving new aims and a sign for enhancement of the artist and his work with contact sheets.