BORN IN CAPE TOWN IN 1986, Ulrich has come to embrace abstract & minimalist photography with his own unique style & vision.

Having sketched and drawn since early childhood and taking art in school through to college in 2004, the 3rd generation German descendant eventually studied design and photography between 2007 - 2009 in Cape Town, South Africa.

There, photography became a natural outlet for him and today, that means basking and being present in beautiful and naturally occurring scenes, textures or moments - though in his case, with a measure of abstraction - and capturing them the moment he becomes aware of them, no matter the context of the setting or where he finds himself.

Artistry and creativity is in his family's blood and, accordingly, he’s expressed himself in several different ways over the years. This includes; singing, writing, making music, drawing, design and photography. With the latter being a major medium for him, he has been active through it for roughly sixteen years.

In terms of creating art, it has become his primary mode of expression as it resembles and coincides with his predominant state of existence; perpetual introspection. This is the purpose of his images. To bring his personal experiences and perspectives to others and, as with any art, allow them to take it and form their own experiences and perspectives as extensions of his own, while perpetuating the cycle of the observer observing, as well as being observed.

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Ulrich does not like to over-treat his photographs and tends to not make use of post-production filters or manipulation, aside from fiddling with contrast levels, occasionally changing the orientation and applying some colour-grading.

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In a rather "ritualistic" manner, he looks at any given piece after capturing it and gives it a title that resembles the initial feelings, memories or thoughts it evokes in him. A degree of automatism is at play there. He also does not like to over-treat his photographs and tends to not make use of post-production filters or manipulation, aside from fiddling with contrast levels, occasionally changing the orientation and applying some colour-grading. Each piece is thus shown in as verbatim a representation as possible.

Interestingly, people usually seem unable to identify the literal object, surface or subject in his shots, which wasn’t an initial intention of his.

The pieces simply show that beauty is indeed in the eye of the beholder, but that it can be found anywhere and that the beholder isn't always looking at the most obvious subject or reference.