Originally from Germany, Hanz Hunter Flieg escaped from Nazism and settled in Brazil. He became the “image maker” of the industrial rise of his adopted country. He has never hesitated to take pictures of factories, machines, manufactured objects and turned parts with a special eye in order to promote them, certainly, but by giving them a poetry of modernity.
His lighting effects and framing create shadows and sculptural perspectives that can be found even in his ability to capture and bring out the simplest things in the refusal of any expressiveness or superfluous aspects. Flieg is only interested in his subject, in the impression he wants to produce and does not get lost in the details.
The industrial landscape or the technical “still life” become the depth of a major aesthetic even if all the photographer’s interest remains directed towards man and his futuristic environment.
However, the photographer’s work is less in reference to the Bauhaus and the German Expressionist than to a constructivism that allows him to play with different perspectives or close-up views. The modern world of the second half of the twentieth century thus allowed him to deepen his formal language and opened many new perspectives to photography.