Anne Pöhlmann engages with the collection of the Skulpturenmuseum Glaskasten Marl and has selected some sculptures according to formal criteria, which she photographed in the neutrality of the studio, but not in a purely objective way. Her point of departure for her examination of the collection, and at the same time her point of reference for her own photographic realization, was a book on the Marl sculpture collection published in the 1960s by art-cc verlag galerie christoph czwiklitzer, with large-format black-and-white photographs by Chargesheimer. Her photographs, which appear documentary, live from precise lighting, from the lay-out of precise placements of the sculptures in the image frame, but especially from the rhythmic repetitions of a motif with minimal rotations of the objects or shifts of the frame. The picture tableaus almost appear like stills from a film. The double pages seem like contact sheets, they are analytical approaches to the one, outstanding image. At the same time, the selection could also fall on another picture. There is always something coincidental about the fixation on one view. Pöhlmann's work focuses on interpretation, on the self-imposed task of developing a coherent series of images from a group of subjectively selected sculptures.