![\"\"](\"https:\/\/www.schiavispa.it\/wp-content\/uploads\/2026\/10\/Gaggenau-e-CRAMUM_D_ENTRO_Ingar-Krauss-rit-scaled.jpg\")
<\/h5>\nHow does one of your works come into being?<\/strong><\/h5>\nI think in terms of images and, in most cases, an image begins with an idea, a thought or a vision. Sometimes I carry that idea with me for a long time before reaching the moment when I feel ready to give it form.<\/p>\n
Your still lifes appear to be constructed with great precision. How does their composition take shape? <\/strong><\/h5>\nSometimes I come across fruit or plants that capture my attention; at other times, I deliberately look for them. From there, I begin to develop the image mentally. Sometimes I sketch out the composition in advance and return to it later. At other times, however, the final photograph turns out to be completely different from what I had imagined. During the creative process, practically anything can happen: I start with an idea, but I never follow it too rigidly.<\/p>\n
![\"\"](\"https:\/\/www.schiavispa.it\/wp-content\/uploads\/2026\/10\/Gaggenau-e-CRAMUM_D_ENTRO_Ingar-Krauss-8-scaled.jpg\")
<\/h5>\nFor many years, portraiture was at the heart of your practice. Today, however, still lifes seem to prevail. What attracts you most at this stage of your artistic journey? <\/strong><\/h5>\nAt the moment, I find it easier to engage with still lifes and other subjects than with portraits. I also feel that still lifes offer me a broader creative space.<\/p>\n
You have remained faithful to analogue photography for almost forty years. What lies behind this choice? <\/strong><\/h5>\nI simply believe that analogue photography is better suited to the way I work and allows me to develop a visual language that is different from that of digital photography. This is why I continue to use it to create my works, while I use digital photography only as a visual notebook: to record ideas for future images or, more simply, to document works that have already been completed.<\/p>\n
![\"\"](\"https:\/\/www.schiavispa.it\/wp-content\/uploads\/2026\/10\/Gaggenau-e-CRAMUM_D_ENTRO_Ingar-Krauss_limone.png\")
<\/h5>\nHow has your way of photographing changed over all these years?<\/strong><\/h5>\nI still use the same cameras I worked with thirty years ago, and very little has changed in my darkroom either. Naturally, it is more difficult today to find materials for analogue photography, particularly photographic paper and the chemicals used for printing. This is the main difficulty I face in continuing to work with analogue processes.<\/p>\n
You are essentially a self-taught artist. Have you ever been inspired by masters of the past or by contemporary artists? <\/strong><\/h5>\nTo be honest, during my early years as an artist I deliberately avoided looking at too many photographs because I did not want to be influenced by them. This helped me develop my own visual language more freely. Of course, there are artists whom I greatly admire, both in photography and in the visual arts. One of them is the Danish painter Vilhelm Hammersh\u00f8i. In general, however, I find much more inspiration in the visual arts than in photography.<\/p>\n
![\"\"](\"https:\/\/www.schiavispa.it\/wp-content\/uploads\/2026\/10\/Gaggenau-e-CRAMUM_D_ENTRO_Ingar-Krauss-9-scaled.jpg\")
<\/h5>\nWhat continues to fascinate you about Hammersh\u00f8i\u2019s work?<\/strong><\/h5>\nI am particularly interested in Hammersh\u00f8i\u2019s interiors. I believe he was truly ahead of his time in these images. In the recent exhibition Vilhelm Hammersh\u00f8i. The Eye That Listens <\/em>at the Kunsthaus Z\u00fcrich, there was also an extraordinary painting by Adolf Menzel depicting a staircase immersed in shadow. And then there was a portrait by Hammersh\u00f8i of a young sick woman: an extremely clear and essential image, yet one with an incredible presence.<\/p>\nSpeaking of interiors, you are best known for your portraits and still lifes, but in your photography, places also seem to become protagonists. In such carefully constructed images, can interiors, gardens and architecture really be accidental? <\/strong><\/h5>\nOf course, inhabited interiors always reveal something about the people who live in them. In the series dedicated to men who live alone, for example, domestic spaces play a central role and, in some cases, I personally design and arrange the environments I photograph. Architecture is also important in other bodies of work: I am currently working on a series about urban allotment gardens, some of which are in Italy, in which I consider the structure of the garden itself to be fundamental. In the project created for Santoni in Milan, on the other hand, I combined portraits with nocturnal views of Milanese architecture.<\/p>\n
For Gaggenau, you were asked to conceive a body of work designed as a small exhibition inside a refrigerator. What convinced you most about the proposal? <\/strong><\/h5>\nI found the Gaggenau refrigerator project to be a fascinating idea and a particularly stimulating artistic challenge. From the very beginning, the curatorial vision behind the project seemed convincing and far from obvious to me: I was excited by the possibility of exploring the relationship between the object, the work it contains and the space in which it is revealed. Transforming an everyday object of the highest design quality into an exhibition space, ultimately making it an artwork in its own right capable of housing other works, holds a special fascination for me. I hope the project succeeds in conveying this fully.<\/p>\n
<\/h4>\n![\"\"](\"https:\/\/www.schiavispa.it\/wp-content\/uploads\/2026\/10\/Gaggenau-e-CRAMUM_D_ENTRO_Ingar-Krauss-2-scaled.jpg\")
<\/h5>\nThe interview with Ingar Krauss marks a new chapter in L\u2019ARTE IN PRIMA PERSONA, a project promoted by Cramum together with Schiavi SpA, conceived, developed and creatively directed by Sabino Maria Frass\u00e0.<\/h4>\n
<\/p>\n
Discover previous episodes:<\/h6>\nStitching Stone. The Post-Human Art of Emilio Fuentes Traverso <\/a><\/h5>\n <\/p>\n
Sometimes I come across fruit or plants that capture my attention; at other times, I deliberately look for them. From there, I begin to develop the image mentally. Sometimes I sketch out the composition in advance and return to it later. At other times, however, the final photograph turns out to be completely different from what I had imagined. During the creative process, practically anything can happen: I start with an idea, but I never follow it too rigidly.<\/p>\n
<\/h5>\nFor many years, portraiture was at the heart of your practice. Today, however, still lifes seem to prevail. What attracts you most at this stage of your artistic journey? <\/strong><\/h5>\nAt the moment, I find it easier to engage with still lifes and other subjects than with portraits. I also feel that still lifes offer me a broader creative space.<\/p>\n
You have remained faithful to analogue photography for almost forty years. What lies behind this choice? <\/strong><\/h5>\nI simply believe that analogue photography is better suited to the way I work and allows me to develop a visual language that is different from that of digital photography. This is why I continue to use it to create my works, while I use digital photography only as a visual notebook: to record ideas for future images or, more simply, to document works that have already been completed.<\/p>\n
<\/h5>\nHow has your way of photographing changed over all these years?<\/strong><\/h5>\nI still use the same cameras I worked with thirty years ago, and very little has changed in my darkroom either. Naturally, it is more difficult today to find materials for analogue photography, particularly photographic paper and the chemicals used for printing. This is the main difficulty I face in continuing to work with analogue processes.<\/p>\n
You are essentially a self-taught artist. Have you ever been inspired by masters of the past or by contemporary artists? <\/strong><\/h5>\nTo be honest, during my early years as an artist I deliberately avoided looking at too many photographs because I did not want to be influenced by them. This helped me develop my own visual language more freely. Of course, there are artists whom I greatly admire, both in photography and in the visual arts. One of them is the Danish painter Vilhelm Hammersh\u00f8i. In general, however, I find much more inspiration in the visual arts than in photography.<\/p>\n
<\/h5>\nWhat continues to fascinate you about Hammersh\u00f8i\u2019s work?<\/strong><\/h5>\nI am particularly interested in Hammersh\u00f8i\u2019s interiors. I believe he was truly ahead of his time in these images. In the recent exhibition Vilhelm Hammersh\u00f8i. The Eye That Listens <\/em>at the Kunsthaus Z\u00fcrich, there was also an extraordinary painting by Adolf Menzel depicting a staircase immersed in shadow. And then there was a portrait by Hammersh\u00f8i of a young sick woman: an extremely clear and essential image, yet one with an incredible presence.<\/p>\nSpeaking of interiors, you are best known for your portraits and still lifes, but in your photography, places also seem to become protagonists. In such carefully constructed images, can interiors, gardens and architecture really be accidental? <\/strong><\/h5>\nOf course, inhabited interiors always reveal something about the people who live in them. In the series dedicated to men who live alone, for example, domestic spaces play a central role and, in some cases, I personally design and arrange the environments I photograph. Architecture is also important in other bodies of work: I am currently working on a series about urban allotment gardens, some of which are in Italy, in which I consider the structure of the garden itself to be fundamental. In the project created for Santoni in Milan, on the other hand, I combined portraits with nocturnal views of Milanese architecture.<\/p>\n
For Gaggenau, you were asked to conceive a body of work designed as a small exhibition inside a refrigerator. What convinced you most about the proposal? <\/strong><\/h5>\nI found the Gaggenau refrigerator project to be a fascinating idea and a particularly stimulating artistic challenge. From the very beginning, the curatorial vision behind the project seemed convincing and far from obvious to me: I was excited by the possibility of exploring the relationship between the object, the work it contains and the space in which it is revealed. Transforming an everyday object of the highest design quality into an exhibition space, ultimately making it an artwork in its own right capable of housing other works, holds a special fascination for me. I hope the project succeeds in conveying this fully.<\/p>\n
<\/h4>\n<\/h5>\nThe interview with Ingar Krauss marks a new chapter in L\u2019ARTE IN PRIMA PERSONA, a project promoted by Cramum together with Schiavi SpA, conceived, developed and creatively directed by Sabino Maria Frass\u00e0.<\/h4>\n
<\/p>\n
Discover previous episodes:<\/h6>\nStitching Stone. The Post-Human Art of Emilio Fuentes Traverso <\/a><\/h5>\n <\/p>\n
At the moment, I find it easier to engage with still lifes and other subjects than with portraits. I also feel that still lifes offer me a broader creative space.<\/p>\n
You have remained faithful to analogue photography for almost forty years. What lies behind this choice? <\/strong><\/h5>\nI simply believe that analogue photography is better suited to the way I work and allows me to develop a visual language that is different from that of digital photography. This is why I continue to use it to create my works, while I use digital photography only as a visual notebook: to record ideas for future images or, more simply, to document works that have already been completed.<\/p>\n
<\/h5>\nHow has your way of photographing changed over all these years?<\/strong><\/h5>\nI still use the same cameras I worked with thirty years ago, and very little has changed in my darkroom either. Naturally, it is more difficult today to find materials for analogue photography, particularly photographic paper and the chemicals used for printing. This is the main difficulty I face in continuing to work with analogue processes.<\/p>\n
You are essentially a self-taught artist. Have you ever been inspired by masters of the past or by contemporary artists? <\/strong><\/h5>\nTo be honest, during my early years as an artist I deliberately avoided looking at too many photographs because I did not want to be influenced by them. This helped me develop my own visual language more freely. Of course, there are artists whom I greatly admire, both in photography and in the visual arts. One of them is the Danish painter Vilhelm Hammersh\u00f8i. In general, however, I find much more inspiration in the visual arts than in photography.<\/p>\n
<\/h5>\nWhat continues to fascinate you about Hammersh\u00f8i\u2019s work?<\/strong><\/h5>\nI am particularly interested in Hammersh\u00f8i\u2019s interiors. I believe he was truly ahead of his time in these images. In the recent exhibition Vilhelm Hammersh\u00f8i. The Eye That Listens <\/em>at the Kunsthaus Z\u00fcrich, there was also an extraordinary painting by Adolf Menzel depicting a staircase immersed in shadow. And then there was a portrait by Hammersh\u00f8i of a young sick woman: an extremely clear and essential image, yet one with an incredible presence.<\/p>\nSpeaking of interiors, you are best known for your portraits and still lifes, but in your photography, places also seem to become protagonists. In such carefully constructed images, can interiors, gardens and architecture really be accidental? <\/strong><\/h5>\nOf course, inhabited interiors always reveal something about the people who live in them. In the series dedicated to men who live alone, for example, domestic spaces play a central role and, in some cases, I personally design and arrange the environments I photograph. Architecture is also important in other bodies of work: I am currently working on a series about urban allotment gardens, some of which are in Italy, in which I consider the structure of the garden itself to be fundamental. In the project created for Santoni in Milan, on the other hand, I combined portraits with nocturnal views of Milanese architecture.<\/p>\n
For Gaggenau, you were asked to conceive a body of work designed as a small exhibition inside a refrigerator. What convinced you most about the proposal? <\/strong><\/h5>\nI found the Gaggenau refrigerator project to be a fascinating idea and a particularly stimulating artistic challenge. From the very beginning, the curatorial vision behind the project seemed convincing and far from obvious to me: I was excited by the possibility of exploring the relationship between the object, the work it contains and the space in which it is revealed. Transforming an everyday object of the highest design quality into an exhibition space, ultimately making it an artwork in its own right capable of housing other works, holds a special fascination for me. I hope the project succeeds in conveying this fully.<\/p>\n
<\/h4>\n<\/h5>\nThe interview with Ingar Krauss marks a new chapter in L\u2019ARTE IN PRIMA PERSONA, a project promoted by Cramum together with Schiavi SpA, conceived, developed and creatively directed by Sabino Maria Frass\u00e0.<\/h4>\n
<\/p>\n
Discover previous episodes:<\/h6>\nStitching Stone. The Post-Human Art of Emilio Fuentes Traverso <\/a><\/h5>\n <\/p>\n
<\/h5>\nHow has your way of photographing changed over all these years?<\/strong><\/h5>\nI still use the same cameras I worked with thirty years ago, and very little has changed in my darkroom either. Naturally, it is more difficult today to find materials for analogue photography, particularly photographic paper and the chemicals used for printing. This is the main difficulty I face in continuing to work with analogue processes.<\/p>\n
You are essentially a self-taught artist. Have you ever been inspired by masters of the past or by contemporary artists? <\/strong><\/h5>\nTo be honest, during my early years as an artist I deliberately avoided looking at too many photographs because I did not want to be influenced by them. This helped me develop my own visual language more freely. Of course, there are artists whom I greatly admire, both in photography and in the visual arts. One of them is the Danish painter Vilhelm Hammersh\u00f8i. In general, however, I find much more inspiration in the visual arts than in photography.<\/p>\n
<\/h5>\nWhat continues to fascinate you about Hammersh\u00f8i\u2019s work?<\/strong><\/h5>\nI am particularly interested in Hammersh\u00f8i\u2019s interiors. I believe he was truly ahead of his time in these images. In the recent exhibition Vilhelm Hammersh\u00f8i. The Eye That Listens <\/em>at the Kunsthaus Z\u00fcrich, there was also an extraordinary painting by Adolf Menzel depicting a staircase immersed in shadow. And then there was a portrait by Hammersh\u00f8i of a young sick woman: an extremely clear and essential image, yet one with an incredible presence.<\/p>\nSpeaking of interiors, you are best known for your portraits and still lifes, but in your photography, places also seem to become protagonists. In such carefully constructed images, can interiors, gardens and architecture really be accidental? <\/strong><\/h5>\nOf course, inhabited interiors always reveal something about the people who live in them. In the series dedicated to men who live alone, for example, domestic spaces play a central role and, in some cases, I personally design and arrange the environments I photograph. Architecture is also important in other bodies of work: I am currently working on a series about urban allotment gardens, some of which are in Italy, in which I consider the structure of the garden itself to be fundamental. In the project created for Santoni in Milan, on the other hand, I combined portraits with nocturnal views of Milanese architecture.<\/p>\n
For Gaggenau, you were asked to conceive a body of work designed as a small exhibition inside a refrigerator. What convinced you most about the proposal? <\/strong><\/h5>\nI found the Gaggenau refrigerator project to be a fascinating idea and a particularly stimulating artistic challenge. From the very beginning, the curatorial vision behind the project seemed convincing and far from obvious to me: I was excited by the possibility of exploring the relationship between the object, the work it contains and the space in which it is revealed. Transforming an everyday object of the highest design quality into an exhibition space, ultimately making it an artwork in its own right capable of housing other works, holds a special fascination for me. I hope the project succeeds in conveying this fully.<\/p>\n
<\/h4>\n<\/h5>\nThe interview with Ingar Krauss marks a new chapter in L\u2019ARTE IN PRIMA PERSONA, a project promoted by Cramum together with Schiavi SpA, conceived, developed and creatively directed by Sabino Maria Frass\u00e0.<\/h4>\n
<\/p>\n
Discover previous episodes:<\/h6>\nStitching Stone. The Post-Human Art of Emilio Fuentes Traverso <\/a><\/h5>\n <\/p>\n
To be honest, during my early years as an artist I deliberately avoided looking at too many photographs because I did not want to be influenced by them. This helped me develop my own visual language more freely. Of course, there are artists whom I greatly admire, both in photography and in the visual arts. One of them is the Danish painter Vilhelm Hammersh\u00f8i. In general, however, I find much more inspiration in the visual arts than in photography.<\/p>\n
<\/h5>\nWhat continues to fascinate you about Hammersh\u00f8i\u2019s work?<\/strong><\/h5>\nI am particularly interested in Hammersh\u00f8i\u2019s interiors. I believe he was truly ahead of his time in these images. In the recent exhibition Vilhelm Hammersh\u00f8i. The Eye That Listens <\/em>at the Kunsthaus Z\u00fcrich, there was also an extraordinary painting by Adolf Menzel depicting a staircase immersed in shadow. And then there was a portrait by Hammersh\u00f8i of a young sick woman: an extremely clear and essential image, yet one with an incredible presence.<\/p>\nSpeaking of interiors, you are best known for your portraits and still lifes, but in your photography, places also seem to become protagonists. In such carefully constructed images, can interiors, gardens and architecture really be accidental? <\/strong><\/h5>\nOf course, inhabited interiors always reveal something about the people who live in them. In the series dedicated to men who live alone, for example, domestic spaces play a central role and, in some cases, I personally design and arrange the environments I photograph. Architecture is also important in other bodies of work: I am currently working on a series about urban allotment gardens, some of which are in Italy, in which I consider the structure of the garden itself to be fundamental. In the project created for Santoni in Milan, on the other hand, I combined portraits with nocturnal views of Milanese architecture.<\/p>\n
For Gaggenau, you were asked to conceive a body of work designed as a small exhibition inside a refrigerator. What convinced you most about the proposal? <\/strong><\/h5>\nI found the Gaggenau refrigerator project to be a fascinating idea and a particularly stimulating artistic challenge. From the very beginning, the curatorial vision behind the project seemed convincing and far from obvious to me: I was excited by the possibility of exploring the relationship between the object, the work it contains and the space in which it is revealed. Transforming an everyday object of the highest design quality into an exhibition space, ultimately making it an artwork in its own right capable of housing other works, holds a special fascination for me. I hope the project succeeds in conveying this fully.<\/p>\n
<\/h4>\n<\/h5>\nThe interview with Ingar Krauss marks a new chapter in L\u2019ARTE IN PRIMA PERSONA, a project promoted by Cramum together with Schiavi SpA, conceived, developed and creatively directed by Sabino Maria Frass\u00e0.<\/h4>\n
<\/p>\n
Discover previous episodes:<\/h6>\nStitching Stone. The Post-Human Art of Emilio Fuentes Traverso <\/a><\/h5>\n <\/p>\n
I am particularly interested in Hammersh\u00f8i\u2019s interiors. I believe he was truly ahead of his time in these images. In the recent exhibition Vilhelm Hammersh\u00f8i. The Eye That Listens <\/em>at the Kunsthaus Z\u00fcrich, there was also an extraordinary painting by Adolf Menzel depicting a staircase immersed in shadow. And then there was a portrait by Hammersh\u00f8i of a young sick woman: an extremely clear and essential image, yet one with an incredible presence.<\/p>\n Of course, inhabited interiors always reveal something about the people who live in them. In the series dedicated to men who live alone, for example, domestic spaces play a central role and, in some cases, I personally design and arrange the environments I photograph. Architecture is also important in other bodies of work: I am currently working on a series about urban allotment gardens, some of which are in Italy, in which I consider the structure of the garden itself to be fundamental. In the project created for Santoni in Milan, on the other hand, I combined portraits with nocturnal views of Milanese architecture.<\/p>\n I found the Gaggenau refrigerator project to be a fascinating idea and a particularly stimulating artistic challenge. From the very beginning, the curatorial vision behind the project seemed convincing and far from obvious to me: I was excited by the possibility of exploring the relationship between the object, the work it contains and the space in which it is revealed. Transforming an everyday object of the highest design quality into an exhibition space, ultimately making it an artwork in its own right capable of housing other works, holds a special fascination for me. I hope the project succeeds in conveying this fully.<\/p>\n <\/p>\n <\/p>\nSpeaking of interiors, you are best known for your portraits and still lifes, but in your photography, places also seem to become protagonists. In such carefully constructed images, can interiors, gardens and architecture really be accidental? <\/strong><\/h5>\n
For Gaggenau, you were asked to conceive a body of work designed as a small exhibition inside a refrigerator. What convinced you most about the proposal? <\/strong><\/h5>\n
<\/h4>\n
<\/h5>\nThe interview with Ingar Krauss marks a new chapter in L\u2019ARTE IN PRIMA PERSONA, a project promoted by Cramum together with Schiavi SpA, conceived, developed and creatively directed by Sabino Maria Frass\u00e0.<\/h4>\n
Discover previous episodes:<\/h6>\n
Stitching Stone. The Post-Human Art of Emilio Fuentes Traverso <\/a><\/h5>\n