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large number of them that I first realize they might function as more than just preparations. So when I begin a sketch, I always think there might be more to pull from it. That’s how the process starts. Either I don’t understand what’s inside of it, get stuck, and throw it out at some stage; or I reach a point where I don’t know what to do, abandon the image I started, and go back to it again a year later – which has happened before. Or: I find a form for it, something perfectly compatible with what the image expresses, but a form not exactly too promising. The coincidental, the spontaneous, and the inverted – none of these aspects are actually removed from the images. Even with the tableaus, a few of the works are based on the photographic coincidence existing a few levels above or below the surface at some stage. Because my decisions really are based on the visual, it’s hard for me to say much about them. Naturally, I’m also influenced by the already seen and by previous knowledge; but even so, I try to make decisions in the purely visual realm. The finished image is no more than a claim, and perhaps even when compared to the earlier works, which were certainly more didactic.


Authorship and Storage

Daniels: Different modes of authorship exist in your work: from the images that you photograph yourself, where the authorship is obvious, to the further processing of found or bought images, creating an overlapping of authorship – does that play a role for you?

Sasse: That, of course, recalls that question: Who actually designed Duchamp's fountain? I don’t really know what to say. I’m of the opinion that –

Daniels: Do you see yourself as the author of all the works?

Sasse: Well, the others were reluctant to come along this trip – they were never asked and I don’t know them – but I really wanted to bring them all with me! Maybe I can tell you an anecdote here: For a firm in Frankfurt, I once completed a work on location. I wrote to all the employees on the same floor, and explained to them that I worked with amateur photography and had an interest in the photographs that they made. Twelve of twenty-five people really showed up. One brought along three photographs and

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