About his artwork, Henry Landers himself says "It is a participatory field experiment. The world shouldn't be less complex, but our view should have more clarity."
Henry Landers was born and grew up in the GDR, in East-Berlin. He didn’t become an artist right away and at this time he didn't know what being an artist actually meant. As was typical for the time, he made an apprenticeship: a metal worker at the Berlin waterworks (arrows, welding, turning, forging, pipe laying, large machines in water supply works).
After a serious motorcycle accident at the age of 19, he discovered photography. It opened up a new dimension of language to him. That inner silence of his childhood and youth dissolved. He began to photograph in the same way as cavemen once painted their drawings on stone in order to recognize, locate and anticipate. Soon Landers won some amateur photography awards.
During his engineering studies "Technology Water Management" he felt a great enrichment in the topics of hydrogeology, physics, technology and urban infrastructures. In the physics seminar he developed his design method according to the geometric mass gravity calculation of bodies comparable to hierarchical proportion. Later, he discovered parallels of it in traditional Japanese ink painting. Even today, Landers composes his pictures according to the center of mass or hierarchical proportion. Also in his triptychs he follows the medieval false perspective.
Landers had to serve 1.5 years military service at the NVA in Potsdam. This fundamentally changed his perception of the male image. Immediately afterwards, he left the regulated state-owned business world on the administrative level and became b/w-photo lab assistant. Events now started happening very fast.
18 months later the fall of the Berlin Wall took place. The world grew larger and the possibilities knew no limits. Landers became a marketing specialist and an advertising photographer, lived in Berlin, Hamburg, Italy and later came back to Berlin.
First solo exhibitions in Hamburg and Berlin. As art, Landers understood his photography for the first time since a work in which he staged his motor accident as a vanitas (triptych in five parts / 1993). The triptych becomes one of his preferred picture languages.
From his project "X Capitals" Landers let himself to be led through the world. He realized this project in Amman, Beijing, Berlin, Budapest, Damascus, Helsinki, Jakarta, Ljubljana, Nicosia, Paris, Ramallah, Riga, Tallinn, Tel Aviv-Yafo, Tokyo, Valletta, Vienna und Warsaw, established an international network of contacts and organized his exhibition with 210 large-format scroll paintings as part of the Art Program in the atrium of the Foreign Office in Berlin.
After "X Capitals" Landers focused on the further development of his special image technology. At that time, analogue photographic papers, of the quality Landers needed for his image technique, were no longer available. There was only a digital way to go ahead. That should turn out to be a stroke of luck. Landers start to playing with colour diversifications of b/w -film based images. Following his extended image technology, Landers made the photography series "Manifold" I to XI.