„We don’t define anyone as our hero, but we believe everyone can be heroic,”

Red Rubber Road develops fluid hybrid forms in which the beauty of human nudity merges into formless states of being. In their playful arrangements, the two photographers move in the artistic field of tension between staged and scenic photography characterized by performative play.

For example, the staged process behind the series „Raum in Raum“ differs from their focus in “Together A Part” in its detailed, elaborate preparation for one scenic shot they had in mind. On the other hand, staged photography leaves more space for coincidences and spontaneous adaptation.

The viewer experiences the artwork’s aestheticism as their eyes scan the body landscapes, gazing from rock-like elevations to the valley between two shoulder blades, balanced elsewhere by the curvature of collarbones. On the border between two-dimensional photographs and three- dimensional sculptural illusions, the dividing lines between pictorial space and viewer space, between seeing and feeling, become blurred.

The creation of these intimate photographs requires familiarity and a close connection. Whatever challenges or pleasant circumstances the work brings with it and what their creative inspiration benefits from are shared here so that all of us can take a walk down Red Rubber Road.

Philipp Schreiner //
WHAT BROUGHT YOU TOGETHER AS COLLABORATORS PERSONALLY AND ARTISTICALLY?
Red Rubber Road //
We’ve known each other since we were pre-teens, and we have such a strong connection and understanding of each other that we are really in sync when shooting, and we can communicate non-verbally if necessary. When you are completely comfortable with someone, and you can feed off of each other’s creative ideas, it makes it really beautiful to work together. We both enjoy self-portraiture because we only need to depend on ourselves/each other, and it gives us a lot of freedom to create what we want. It’s also amazing to work as a duo because you can voice your ideas and bounce them back and forth until they materialize.

WHAT FASCINATES YOU ABOUT THE HUMAN BODY?
The human body is one of the most accessible tools for self-expression. In our images, we can use our bodies in ways that transcend our individual identity, transform- ing ourselves to create momentary sculptures, otherworldly creatures, or tell stories.

Through our bodies, we can use all of our senses to interact and connect with the world around us. Simultaneously, the body is also undergoing constant change, which makes it fascinating to work with long-term because, in a sense, it also becomes a document of our lives. For us, nudity is a very natural state of being without the distraction of clothing that often indicates a style or a time period too clearly. In order to better merge our identities, we like to use nudity almost like a uniform.

WHAT IS THE BIGGEST CHALLENGE IN DEVELOPING IDEAS AS AN ARTIST COLLECTIVE?
The biggest challenge isn’t coming up with ideas, although sometimes executing them can be quite challenging. Much of our work has a very spontaneous process, so we’re constantly developing and sharing ideas on the go; It’s very fluid and easy.

THE GO; IT’S VERY FLUID AND EASY. WHAT INSPIRED YOU TO CREATE THE SERIES “TOGETHER A PART” DURING THE FIRST LOCKDOWN IN 2020?
When COVID started, we were supposed to be shooting together in rural Spain. Instead, we both found ourselves in quarantine in different countries, and we started exploring new collaborative options. Our communication was through digital devices, so naturally, we gravitated towards including them in our work.

In Together A Part, we took turns shooting from our respective ho- mes, interacting and merging solely through a screen. Eventually, we started investigating how digital devices affect relationships, not only in times of social distancing.

DID ANA’S MONTH-LONG 2018 HOSPITAL STAY IN ISOLATION FOR AN INFECTIOUS DISEASE HELP PREPARE YOU FOR SOCIAL DISTANCING MEASURES AND DIGITAL COMMUNICATION?
The funny story is that AnaHell didn’t have WiFi at the hospital, so it didn’t even occur to us to work together online. What we shot there together was during Nathalie’s visits to the hospital.

The situation was also very different since AnaHell had limitations due to her health condition that we didn’t have during the 2020 lockdown. Shooting together was definitely a great coping mechanism, though, since it helps to have an artistic outlet when going through hard times.

DO YOU THINK TOUGH SITUATIONS CATALYZE IDEAS AND THE WORKING PROCESS, OR DOES INSPIRATION ALSO HIT WHEN EVERYTHING IS FINE IN YOUR PERSONAL LIFE?
We both believe in the creative power of limitations, and some- times certain circumstances can be an extra boost of inspiration. We certainly don’t think that we need to be in tough personal situations to feel more creative – our motto is to work with what we have, whatever that may be.

HOW IMPORTANT ARE POLITICS, SOCIETY, AND WORLDWIDE AFFAIRS TO YOUR WORK?
Indirectly, society and the state of the world always affect our view on things and the circumstances in which we create. Covid definitely showed us that. However, we perceive our work as something inherently personal.

WHO DO YOU CONSIDER TO BE A HERO?
We don’t define anyone as our hero, but we believe everyone can be heroic.

WHAT NEW PROJECTS HAVE YOU BEEN WORKING ON?
We’ve been diving into the world of screens and are exploring new ways of playing with technology.