Philip Glaser's oeuvre couldn't be any more diverse: architecture, people and fashion photography are his specialties. Amongst these are largely formatted works, which have found their way into private art collections in New York as well as into german advertising spots. You may remember the two lovers in the Obi commercial, which was directed by Otto Alexander Jahrreis. The couple proudly carries a 2 by 4 meter photography into their living room, on which a motive of their own bungalow is displayed. (2004)
Or maybe you recall the Mojo Club photographies of Jazzcotech dancer Perry Louis, who, in the meantime, is well-known in the USA and in Japan next to Germany. Since 7 years, these images regularly decorate the famous MojoClub CD-compilations as well as large posterwalls in Hamburg, Cologne and Berlin. (since 2000)
How about the last two music videos made for ambient sound artist Schiller? Christopher von Deylen and Jette von Roth appear on nothing less than a 10 by 14 meters screen located directly in Berlin's heart: the Potsdamer Platz. (2007)
After his previous works, it is remarkable to note that Philip Glaser's first German exposition focusses around small formats. As opposed to his architectural works, which required the use of large-format cameras, Philip Glaser utilizes 8 by 8 centimeter polaroids to make best use of the medium's traits as a reference to the motives of the painter Hopper. With the polaroids expanded to 160 by 160 centimeters, these references become clear on a selection of 5 of the 45 works.
Philip Glaser's vitae includes a distinctive honour degree in Art History (acquired in 1998) at the University of Hamburg under Professor Martin Warnke, who is decorated with the Leibnitz price.
Born in 1968, Philip Glaser spent years of his teenage life in New York and along the East Coast of New England (USA), where he discovered his passion for photography. At this time in the early 1980's, early singns of RAP break dance and graffiti dominated the American subculture. Coupled with the wild pop culture of excentric Manhattan, these ingredients made for the conceptual birth of his photographic senses and vision. From this point onwards, Philip Glaser raised his own extroverted and, at the same time, quiet and diligently analytical and well-choreographed style.