Compound Effect
The series currently consists of eleven works, mainly photographed in urban environments across Germany, Canada and Iran. The images depict apartment buildings, parks and cityscapes that often reveal traces of neglect, destruction or latent tension.
The works are frequently composed from multiple original photographs. Elements are removed, altered or added using a combination of digital editing, 3D processes and AI-based techniques. These interventions are subtle but intentional, aiming to condense perception rather than distort reality.
Although the images often appear devoid of people, human presence remains implicit. Figures are sometimes hidden or pushed into the background, while the architecture itself conveys a sense of absence. These constructed environments reflect conditions of instability, vulnerability and quiet aggression.
Wolf
The installation consists of three synchronized videos projected side by side in a continuous loop. Six different scenes alternate at intervals, generating shifting relationships and new visual constellations.
A cube appears in darkness, its edges flickering in cool tones. Within it, the red silhouette of a figure emerges in varying positions. It remains unclear whether the figure is singular or multiple, sequential or simultaneous.
The videos were created through an elaborate digital stop-motion process. Sets and performers were filmed, then reworked extensively in post-production. The material was projected frame by frame onto stacked acrylic glass plates and re-photographed using long exposure.
Tower of 5
The work presents stacked cubes floating within a black void. Each layer represents a distinct visual environment, forming a structure that resembles a fragmented cross-section of the earth.
The imagery combines satellite data, video game aesthetics, wireframe modeling, television noise and digitally processed photographic material. It reflects on how contemporary perception of nature is increasingly mediated, constructed and abstracted.
Referencing visual languages of games such as Minecraft or SimCity, the work oscillates between simulation and critique.
The 2050's and 2150's
Inspired by television formats that look back on a past year or decade, this project imagines two decades that have not yet happened: the 2050s and the 2150s.
Photographs of television noise were taken and fragments of these images were continuously layered in search of patterns or recognizable forms. Instead of anything concrete, a dense grey fog emerged.
The process remained open-ended from beginning to end. The final images reflect this uncertainty, just as the future itself remains unresolved.
NOISE
Two opposing conditions are brought together: the static of a television signal, which appears through the absence of information, and the close-up of a news anchor, a figure associated with the transmission of information.
The two elements are combined by placing a transparent print of the anchor’s face in front of a running field of television noise. Through this fusion, the noise gradually erodes the distinct features of the face until it becomes nearly unrecognisable.
The work reflects on distortion, mediation and the unstable threshold between information and its disappearance.
Dark Blue
The images in the Dark Blue series propose a personal visual language through which collective consciousness, data, online behaviour and computer use become perceptible against a background of transparency, anonymity and disintegration.
Each work is produced through a highly labour-intensive process. The images are constructed from numerous cut vertical strips taken from photographs of the same person in different positions.
The series reflects on the fragmented construction of identity in digital space. Presence and disappearance, individuality and collectivity, embodiment and data all remain suspended within the same image.
White Rooms
This series visualises recurring patterns of behaviour, transformation and evolutionary processes within contemporary societies.
While the overarching themes are anonymity, repetition and interchangeability, each image addresses a distinct constellation. Other central concerns include identity, individuality and interpersonal relations, while the strict arrangements reflect on freedom, control and adaptation.
The images are based on continuous photographs of a single person moving across a large space. In post-production, the figure was separated from its original surroundings and transferred into an abstract white field.
DSADDKIDSDM
DSADDKIDSDM is an abbreviation of the German sentence Die Stadt als die dominierende Kraft in der Strukturierung des Menschen — The city as the dominating force in the structuring of man.
The series examines the city as a spatial and psychological system that shapes human behaviour, movement and perception. Urban space does not merely serve as a backdrop here, but appears as an active force that orders, directs and conditions the individual.
Through reduced compositions and precisely structured architectural situations, the works reflect on isolation, control, orientation and the often subtle ways in which built environments inscribe themselves into human presence.
Thiemo Kloss is a visual artist working across photography, digital image construction and moving image.
His work explores speculative worlds, artificial life, and the evolving relationship between imagination, image-making, and technology. Across photography, digital image construction, and moving image, he develops visual systems that reflect on perception, control, identity, and the psychological conditions of contemporary life.