The Paint Shop is pleased to present Lasse Müller’s first solo exhibition, featuring a new series of works. The works on display are primarily three-dimensional objects in which digital and analog techniques overlap, feed back into one another, and are mutually dependent. The title refers both to the intricately folded photographs and to the mathematical term for a spatial geometry derived from surface states. His works are "photo-structures"—scenes and objects constructed largely from photographs that replicate fragments of our surroundings based on their momentary appearance. Digital processing plays a crucial role in this elaborate realization. The isolated objects and areas are comprehensively captured using hundreds of photographs and processed into digital 3D models (photogrammetry). The geometric forms are simplified (re-typologized), subjected to renewed texture projection, and finally transformed—through digital printing and the assembly of prints—into near-scale, multi-perspective works. The resulting photo-structures "freeze" the moment of capture and the specific incidence of light, making them tangible as a seemingly hyper-realistic image of a fleeting reality, while simultaneously acting as a translation into a new medium that refers back to itself and to our perception of that reality. The works in the exhibition clearly explore this relationship. Shadows cast by surrounding trees fall upon the depicted trees—traces of an unseen environment acting upon the scene at hand. The season, the time of day, or specific details—such as a red tree-marking—serve as signatures in the quest to capture the primary phenomenon being presented. The chosen locations may be private—seemingly banal in their ordinariness, like a slightly ajar bathroom door illuminated by a shaft of light. A sense of familiarity arises—ideally, a memory felt as an emotion. Yet, upon closer inspection, one might discern specific details—such as fine hairs clinging to the tiles after a shower—imprinted upon the photographic surface. Conversely, there are public spaces and objects—such as a pair of birch trees or a street bollard—that, through the artist’s non-judgmental, egalitarian observation of the urban landscape, acquire the character of objects that are simultaneously universal and unique. They are interchangeable yet singular in appearance—an insight Lasse Müller articulates in works that might be described as "trivial sculptures." A tree constructed from wood and printed paper becomes, in a sense, a monument to itself; the act of meticulous reconstruction can be understood as a form of painting in space. Müller’s understanding of spatial objects and textures stems, in part, from his youthful experiences with computer games. He employs a precise, dissecting gaze that breaks down locations into their non-hierarchical components—akin to the polygons or basic geometric building blocks calculated by a graphics engine. Their reassembly into "shells"—which, despite appearing inanimate and almost like stage sets, constitute an appreciation of the moment and a reference to the "thing itself" in the sense of Edmund Husserl’s phenomenology. Our empirical view of things is thus limited, because meaningfulness is something we only attribute to objects. The object of our contemplation is therefore altered by the act of consciousness directed toward it. Even an illusion can ultimately be understood as a perception that turns out to be an illusion—much like a work that only acquires its own distinct identity after being exposed as a copy.