RuediOne interview

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Hello Ruedione could you please introduce yourself?
My name is Ruediger Glatz and I come from Heidelberg in Germany. I call myself RUEDIONE as a tribute to my graffitiroots and as I write this name for now almost 8 years (when I find some time to write). I started writing in 1992, but it slowed down in 97-98 since 2000 I started to take photography more serious. I took photos all my life, probably like all other writers, but in 2000 I bought myself digicam (… a cheesy automatic) and experimented the first time with photography. After some while I found more and more pics that I really like. it took maybe 6 months that I bought my first analog SLR camera.
In the following years photography became more and more important to my life and I never went anywhere without a camera. I think it was 2001 that I started to try to force my photography into projects. Now I work on roughly 6-7 projects parallel so I have the chance to take very often pics that I can use for any of them.
In April 2006 my first book about the MONTANA WRITERTEAM (…I am the organizer of it ) will be on the market, the publisher will be Stylefile and I plan in the future to publish once a year a book, the one after this one will be TRAINS (mainly yardshoots).
As well I decided to make photography being part of my profession.
At the 18.11.2005 a photostudio called bild HAUER studio ( (I do with a photopartner of mine; as well a writer ) will open its doors in heidelberg.
Actually I am sitting right now in a plane to San Francisco to shoot a series with him for the first vernissage in our studio.

Why do you take photos of writer, locations and yards?
The answer is pretty simple: great photos transport emotions, the yard shoots… I just love to be at trains and yards. These photos touch me a lot and I always try to shoot photos that touch my own emotions. There is nothing better than step into a yard with tripod and photo equipment with the knowledge that even if the cops come, they can’t do anything to you next to a ticket. It is relaxing and kicks the same time.
Regarding the person who introduced me into the world of graffiti, yes indeed there were 2 persons who did that. The first was a writer from Frankfurt called DINO and later TREX from the NM crew. He gave me all the needed information to get started.
Shortly after I met KANE from the SCM and later TPM crew. He became somehow my master and thought me a lot about style. I had over the years the chance to get to know probably most of the interesting writers in the world, but he still is the biggest talent I ever met in graffiti. You can say he studied New York and its styles of the late 70’s and 80’s in such intensive way that he created his own style, which is a mixture of the best of the best. He is as well next to DASH, BATES and KEGR one of the best handstylers I know.

Looking at most of your photographs I feel like there is an aurea of silence around them, almost like the viewer is transported into the spot without making any sound, a bit like a ghost moving around unnoticed. Probably the clean lines and cuts of the photographs influence this perception, but I wonder how do you reach such a state of calm in your shots in situations, like being in a tunnel or during a party, or following an artist at work? How do you approach you subjects and scenarios? Do you have a specific way of working?
Silence and relaxation is something important in photography for me. Maybe as this is something I don’t experience that often in real life, as I am kind of a person who loves to get projects started, even if I am stuffed with several others.
This is really interesting, as this is what I love the most about my own pictures, but never really realized. It was until now just a certain feeling I enjoyed, while checking out shots.
I try to compose my pictures in a very strong way. The aesthetic of the forms and colors are very important to me. As well I love to work with open apertures and put the sharp zone on specific items, that I want to emphasize.
Regarding the yardshots like I explained the situations while I take these pictures are indeed moments of silence…the maximum is a relaxing sound, but normally I enjoy just the silence.

Are the places important while you are photographing anything?
Sure! My photos are just grabbed pieces and moments of an incredible large artwork you might call reality.
For me meanwhile the reality is a large artwork created by god. Photography taught me to see it as such a one and gave me the gift to appreciate it.
Before reality (what you see, smell, hear …that surrounds you) was just there. Now I can say that I watch in a photographic way, what makes it way easier to realize this incredible large piece of artwork.
You could say that my photos are nothing else than a remix of minipieces reality 🙂

Is the travelling important for you?
Travelling is almost as important as photography itself for me, but without photography I would have the feeling that I would experience it strong enough.
Like a good party with great music, but with a totally ***ed up sound system… it might be good, but not perfect.

What plans do you have for the future?
I want to expand my photography. The step into a profession (even if it is only part-time) was really important to me. Like I wrote I plan to publish at least once a year a book or other print products that I want to connect with international exhibitions shows.Further I will concentrate on my series TRAINS, ARTISTS and GRAFFITI from next month on… as well I have to finish the MONTANA WRITERTEAM book.
… and I want to do more reportages and portraits of musicians.

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