Milena Schilling
"O R I G I O"

Milena, you photographed 45 people in Lake Constance - how did you approach this very personal and intimate collaboration with the participants? Forty-five individuals aged between 18 and 73 took part. The project was open to anyone comfortable in (cold) water and willing to be photographed nude underwater. It was crucial for me to make the project accessible to all interested parties, without discriminating based on body shape, age, etc., as that would contradict my message. Over the course of the project and the shoots, I increasingly noticed that underwater, everyone looks the same - you often can't even discern gender, let alone age, body shape, or tattoos.​

In the series "O R I G I O," water plays a central role - what does this element mean to you personally and artistically? Water has always been significant in my life. I love spending every free minute in the lake and start each workday with a swim. Realizing that humans are composed of 70-80% water and that we spend the first nine months of our lives in water inspired the idea for my photo series "O R I G I O." The series' message - "We all spend the first nine months of our lives in water. There, we are free from social constructs and all equal" - emphasizes our shared origin and aims to remind us of that.​

The images evoke Renaissance art through their lighting and composition. How did you prepare to achieve this effect in the water? What was a typical shoot like? The project was extensive and complex. I tried to analyze and understand Lake Constance. Those familiar with the lake know how murky it can be. However, when the water temperature drops below 12°C, it becomes clearer - then factors like wind direction, recent rainfall, algae blooms, and cloud cover come into play. When all these conditions aligned, a shoot could proceed as envisioned: relatively clear visibility and soft, painterly light. Often, I could only assess conditions a day in advance, requiring spontaneous planning. I documented my envisioned compositions in a sketchbook to discuss with my models. We rehearsed everything on land, choreographing the movements. Initially, I entered the lake from the shore with the models, but I soon realized it was better from a boat - so I obtained a sailing license. I organized a boat and crew in addition to the models, and after rehearsals on land, we headed out onto the lake. Once there, we finalized details, and I entered the water first to find the right spot for the photos. Once located, the models joined, and everything happened quickly: everyone swam to their positions, the skipper began counting, and the choreography commenced. I practiced freediving to stay underwater long enough to capture the perfect moment when the models reached their final positions. Due to technical reasons, I could only take one photo per dive - so I either returned home with a photo at the end of the day or not. Each image often required up to nine hours of effort, with models only able to stay in the water for 3-5 minutes due to the temperature. They warmed up immediately onboard afterward. The painterly and primal character is also emphasized by the fact that the photos were not edited. All images are straight out of the camera.​

The physical presentation of images significantly alters their impact. What considerations did you make regarding formats, materials, and hanging? I always work very conceptually and leave little to chance. I plan everything meticulously from start to finish. For this project, it was essential that the message was conveyed not only through the photos but also through the printing and hanging. The series consists of two parts - a series above water in color and a series underwater in black and white. Given the painterly nature of the color photos, it was clear they would be most effective in large formats and not behind glass. The decision for shadow gap frames was intuitive and swift. The small distance between the print and the wooden frame parallels old Renaissance paintings, and the large size of up to 150x100cm makes the photos appear truly painted when viewed up close. Each photo was illuminated with a spotlight directed at its center, enhancing their radiance and painted appearance. For the black and white photos, I wanted to reflect the almost analog process and the extended working period by using an old analog printing method with deep blacks. Baryta prints are perfect for this! They are framed with a passe-partout in white frames to recapture the lightness and openness of the subjects in the otherwise dark photos. The silky sheen of the prints evokes water, and their longevity ensures museum quality.​

Together with gallery owner Franziska Reichel, you deviated from traditional hanging methods. What was your approach? We thought extensively about the hanging. It significantly deviates from classical or typical arrangements. For example, the large wall in the final room adopts a wave form, referencing the freedom in water and the element itself. The varying sizes of the subjects make the entire hanging feel light and weightless - just like the photos themselves.​

WhiteWall produced the exhibition. How did it feel to see your underwater world as large-format prints for the first time - what impact did that have on you? After three years of hard and cold work in the lake, it's incredible to finally see the printed photos before me. The large prints bring the photos to life, and the longer I stand before them, the more I imagine seeing brushstrokes, something I hadn't noticed as much on screen. Thanks to WhiteWall's precise work and the large formats, the color photos truly appear painted. The baryta prints also possess a depth and rich black that no screen can replicate. I must admit, a few tears rolled down my cheeks when unpacking and especially upon seeing the finished images on the walls. It's particularly touching when, during tours, people approach me and ask if I really didn't paint anything in or edit the photos. That simply shows that the concept works and that one must consider everything from start to finish to achieve the desired effect.​

For those who photograph themselves: What have you learned about presenting photos through this intensive project work - and what would you advise others who want to get more out of their images? I can only reiterate from the previous question: think through the intention and message of the photos from A to Z and incorporate them. From the initial idea to the final hanging. If you know at every step why you're doing it and what it should evoke in the viewer, you'll intuitively choose the right path. However, if you neglect the intention at any point, it becomes apparent to everyone. Therefore, stay true to your concept and follow it - even in the choice of photo presentation. The right print ultimately determines how the photo is received by the viewer and whether it conveys the desired effect. It can enhance the message and feeling of the image or strip it of its magic.​