In the 1990s German photographer Frank Kunert began photographing his hand-built sets to create images like “Flugsteig (Gate).”
This photograph, titled “Abwaerts (Down),” is an example of Kunert’s absurdist sense of humor.
Images like “Sonnenseite” (Sunny Side)” look like ordinary scenes of city life until you begin to notice the incongruous details.
In this image, titled “Das Leben Ist Kein Wunschkonzert (Life Is Not a Command Performance),” a grand piano is repurposed as a work desk.
“Ein Platz an Der Sonne (A Place in the Sun)” depicts a luxurious new house literally overshadowing the neighboring apartments.
In “Ein Kindheitstraum (A Childhood Dream),” Kunert presents the surreal image of a cradle mounted on the back of a motorcycle.
In many of his images, such as “Trash,” Kunert juxtaposes the worlds of high culture and mundane city life.
The title of this work, “Ewige Liebe (Eternal Love)” offers an ironic commentary on the image of a deceased couple living on under their gravestones.
“Im Rausch der Tiefe (The Intoxication of the Deep)” depicts a news kiosk at the bottom of a swimming pool.
Kunert spends between two weeks and two months building the sets for his photographs, such as this one, titled “Privatsphaere (Private Sphere).”
“The world is absurd and crazy,” Kunert says of photographs like this one, “Flood.” “Humor in art is a good way of dealing with this.”
Kunert enjoys building dystopian architecture, such as this impossible-to-reach hotel in “Kletterurlaub (Climbing Holidays).”
Sometimes Kunert’s images are plays on words, such as “Street Art,” in which an artist seems to have literally put a slab of asphalt on display.
Images like this, titled “Unter der Bruecke (Under the Bridge),” evoke the absurdist humor of Franz Kafka.
“Traumreise (Dream Trip)” is reminiscent of the work of Surrealist painter RenÃ© Magritte.