Compound Effect
2019 – ongoing
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. At the same time, many of these structures appear strangely displaced or disproportionate.
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. They function as visual metaphors for broader societal processes and psychological states.
Wolf
2022
Three-channel video, 03:19 min.
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 spatial setting is equally ambiguous, evoking associations with outer space, digital environments or the subconscious.
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. These images were subsequently recomposed into the final video sequences.
Tower of 5
2018
Single-channel video, 02:27 min.
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. While adopting a reduced, graphic aesthetic, it simultaneously questions simplified world models, touching on themes of creation, perception and the evolution of human understanding.
The 2050´s and 2150´s
2013–2014
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. For the works, 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 series followed a highly experimental approach and therefore differs from other bodies of work in its visual language. At the same time, it maintains a repetitive and meditative working process that is central to the practice.
The process remained open-ended from beginning to end. The final images reflect this uncertainty, just as the future itself remains unresolved.
NOISE
2020
In this work, 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. Normally, these states would only be encountered in sequence while changing channels. Here, however, they occupy the same image at once.
Through this fusion, the noise gradually erodes the distinct features of the face until it becomes nearly unrecognisable. Facial expression and identity are reduced, while a new layer of visual information emerges within a field that would otherwise remain empty. The work reflects on distortion, mediation and the unstable threshold between information and its disappearance.
Dark Blue
2011–2015
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. By carefully arranging these fragments, figures emerge that appear semi-transparent, multiplied and unstable, before gradually dissolving into one another.
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
2007–2014
This series visualises recurring patterns of behaviour, transformation and evolutionary processes within contemporary societies. The work developed out of several years spent abroad, during which close observation of people and their interactions revealed both the universality of certain forms of behaviour and the global reach of comparable social changes.
While the overarching themes are anonymity, repetition and interchangeability, each image addresses a distinct constellation. Other central concerns of the series include identity, individuality and interpersonal relations, while its strict arrangements reflect on freedom, control, adaptation, self-determination and the ways in which human behaviour increasingly conforms to computer-driven systems.
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. This removal from a specific place emphasises the pattern itself and allows a new spatial order to emerge through repetition and positioning.
DSADDKIDSDM
2007–2010
DSADDKIDSDM is an abbreviation of the German sentence Die Stadt als die dominierende Kraft in der Strukturierung des Menschen, which translates as 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.
About
Born 1984 in Bonn, Germany. Lives and works in Düsseldorf, Germany.
Thiemo Kloss is a visual artist whose 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.
Selected Exhibitions
Upcoming
–
Current
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Solo
2018 — Works from the past — Nachtspeicher 23 — Hamburg, Germany
2014 — No.1 — dat Galerie — Berlin, Germany
Group
2024 — Licht/Schatten — Galerie Troner — Düsseldorf, Germany
2024 — Einsicht II — Forum Kunst und Architektur — Essen, Germany
2023 — Zeitenwende — Forum Kunst und Architektur — Essen, Germany
2019 — Marianne Brandt Award — Industrial Museum — Chemnitz, Germany
2019 — Young Cheezze Award für Fotografie — Paderborn
2018 — OFF_festival — Bratislava, Slovakia
2017 — Give & Take — Künstlerhaus Bethanien — Berlin, Germany
2017 — Festival Circulation(s) — CENTQUATRE — Paris, France
2016 — Addis Foto Fest — Addis Ababa, Ethiopia
2016 — OFF_festival — Muszi Gallery — Budapest, Hungary
2016 — ArtMuc — Munich, Germany
2016 — UAMO Festival — Munich, Germany
2016 — Darmstädter Tage der Fotografie — Darmstadt, Germany
2016 — Spring Exhibition — Kunsthal Charlottenborg — Copenhagen, Denmark
2015 — Image Now — Wissenschaftspark — Gelsenkirchen, Germany
2015 — OFF_festival — Bratislava, Slovakia
2015 — People in Beta Festival — betahaus — Berlin, Germany
2015 — Noorderlicht Photofestival — Groningen, The Netherlands
2015 — ArtMuc — Munich, Germany
2014 — Ein Blick — Galerie Neurotitan — Berlin, Germany
2014 — Tio Ilar 7 — Conduit — Athens, Greece
2014 — Tio Ilar Istanbul — Sismanoglio Megaro — Istanbul, Turkey
2014 — Kölner Liste — Cologne, Germany
2014 — Tagboat Award — Gallery Tagboat — Tokyo, Japan
2013 — Felix Schoeller Photo Award — Kulturgeschichtliches Museum — Osnabrück, Germany
2013 — Berliner Liste — Berlin, Germany
2013 — Tio Ilar 6 — Athens, Greece
2013 — One Shot: Spaces — Loft at Liz’s — Los Angeles, U.S.A.
2013 — IEAA — FN Designs — Dubai, U.A.E.
2012 — Kaum 3 — Raum — Berlin, Germany
2011 — Re:Arrange — Freies Museum — Berlin, Germany
2009 — Now/where — Kaleidoskop — Berlin, Germany
2008 — Visual Gallery — Photokina — Cologne, Germany
Awards & Nominations
2019 — Nomination Marianne Brandt Award
2019 — Nomination Young Cheezze Award für Fotografie
2013 — Nomination Felix Schoeller Photo Award
2013 — 2nd Place International Emerging Artist Award
Grants
2007 — Canon Profifoto Grant
Impressum
Angaben gemäß § 5 DDG
Thiemo Kloss
Florastr. 10
40217 Düsseldorf
Deutschland
Kontakt:
E-Mail: info@thiemokloss.com
Verantwortlich für den Inhalt dieser Website:
Thiemo Kloss
Florastr. 10
40217 Düsseldorf
Deutschland
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Florastr. 10
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Deutschland
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10. Stand
Stand: April 2026