The informal, probably not even legal, self built structures at the inshore landscape next to the beach, with its strong organized private areas of lined – up beachhouses, which all look alike, a self – organized group of about 25 sculptural objects by anonymous builders extends along the inshore, a part of the coast which is in fact dedicated to flood protection. These sculptural objects are, after a closer look, shacks of different sizes, functions and shapes. Additionally to the shacks there are also boat ramps for small private boats, sculptures and „handicapped sticks“ which are set carefully to handle the unsurmountable rocks of the dyke. All seem to be part of a kind of „secret“ village on public property.

Shacks  I series of approx. 30 color photographs I 60*40 cm  I  2017

Gebaute Bilder von Natur I / built natures I

Kay Fingerle was Artist in Residence at the Villa Kamogawa of the Goethe-Institut in Kyoto in the summer of 2019. There she investigated „Built Images of Nature“ as architecture-related constructs of nature. In the rocks of Nagoya, Kyoto, and Himeji an artificial and independent image of built nature is staged. By juxtaposing nature experience and spatial perception in an unusual way, Kay Fingerle mediates between the demarcation from the uncontrollable forces of nature through architecture and the necessary integration of nature into a hostile, because built environment.

Gebaute Bilder von Natur I series of color photographs I 50*75 cm I Japan 2019

Gebaute Bilder von Natur I series of color photographs I 50*75 cm I Japan 2019


The photography in the exhibitin Mies in Berlin spans nearly a century. On one end of the spectrum, archival prints from large- format glass negatives as early as 1907 document Ludwig Mies van der Rohe‘s earliest work; on the other, recent, digitally altered images by Thomas Ruff subject those iconic images to postmodern mani- pulation. Yet in Mies in Berlin photography is annexed to architecture, so that even in it‘s dramatically different manifestations, it is organized and brought into focus by individual buildings. Between the two extremes represented by vintage archival prints and digital manipu- lations in Mies in Berlin are a series of new photographs of Mies‘s German-period buildings by the contemporary german photographer Kay Fingerle.
Although many of the images are striking examples of their genre, one series of Fingerle‘s photographs has an especially lyric presence.
Among the buildings shot for the MoMA show, she has photographed Mies`s German Pavillion ́at Barcelona, a building known only through photographs for more than fifty years … Fingerle confronted the daunting challen- ge of rephotographing this building, which owes its very existence to the power of photography. Her images naturally depict aspects of the pavilion not represented in the original photos, illustrating changes in our understanding of architecture over nearly seventy-five years. Claire Zimmermann in MoMA Magazine June 2001

mies. I series of 42 color and black and white photographs I 60*40 cm I 2001 courtesy of Museum of modern Art New York


My project Y.R. shows spatial artefacts of the self organized life in the famous and legendary student house Yoshida Ryo in Kyoto. The Adoption of common space and Usage of it as collective spaces need a commonly agreed life. The non written Rules of this life underlay and determine use of the building and its many rooms. This project closes the circle of adopted spaces, which starts in the build structures and objects of „Shacks“ and result in the accuracy of daily life structures in a dense and seemingly chaotic use of space in Yoshida Ryo.

Y.R. I series of 12 color photographs I 60 x 40 cm I Kyoto 2016

charlottes ramps

Perriand’s buildings in Les Arcs in the 1970s bring together the immaculate and fragile mountain landscape of France with the emerging mass tourism.
The mountain architecture is an expression of the social vision of the „holiday for everyone“ under the French labour legislation of the 1960s.
During her stays in Japan in the early 1940s and 50s, Charlotte Perriand was particularly interested in the conceptual connection of traditional Japanese houses with nature.
She wanted to apply the experience she had gained in Japan to „architecture that forms an authentic relationship with nature“ 2.
Perriand’s buildings in Les Arcs are accessible by ramps inside and outside. The ramps as building access allow a special spatial experience: movement in the building as a continuation of walking in the mountains. Ceiling scaffolding made of wood structures the long corridors: they remind us of walking under branches. The free horizon is also staged as part of the house.

Charlotte Perriands Ramps. I series of color photographs I 50 x 75 cm I Les Arcs 2018

Charlotte Perriands Ramps. I series of color photographs I 60 x 45 cm I Les Arcs 2018

sweetness restored

My series sweetness restored was taken at the island of Mazzorbo and thematises the aging of the housing by italian architect Giancarlo De Carlo. Aging is understood a process of slow invisible transformation of a building. The series of photographs visualizes an abrasion by the daily use: as beautiful, scary, sad and everyday events, wind, sun, people leaving traces and many more. A potential already glimpses through: of becoming something new.

sweetness restored  I series of 30 color photographs I 50*40 cm I


„Bohemian“ are landscapes of our dreams and places of our memories that have settled in the back folds of our memory and can no longer be clearly assigned to an experience.

bohemian I  series of C – Prints I 60 x 40 cm I @Kay Fingerle I 2019


Homestories is probably the most personal project, since it shows homes, abandoned by it`s inhabitants for different reasons. There are leftovers like clothes, furnitures, personal belongings – not all of them, but some artifacts of a persons life. In Sarahs House everything left is connected to the house, like the doorframes, the cleaned fireplace, the pool with dust on the water…  In Luisas House it seems, she just left for walk and will come back soon, but she is not. These left apartments and houses show a material heritage of people; all kinds of imprints leave their homes as incomplete pictures.

Homestories III Akiras House I C – Prints 50 x 75 cm @Kay Fingerle I Kyoto 2019

Homestories II Lisas House I C – Prints 50 x 75 cm @Kay Fingerle I Kyoto 2019

Homestories I Sarahs House I C – Prints 50 x 75 cm @Kay Fingerle I Kyoto 2019


shared I C – Prints 50 x 75 cm @Kay Fingerle I 2020