One of the compelling qualities about Lempert’s photographic work is his ability to overcome the presence of the photographic apparatus. The way he observes the world and presents his work is so unpretentious and generous that it is no longer important if the camera was or was not there. It is his eye, his mind, that captures and makes the photographs with full freedom, unconstrained capacity to experiment and a sensibility rooted in timeless concerns.

After a rigorous editing process, during which photographs may sit in his studio for several years, Lempert hangs the finished artworks in a gallery un-matted and unframed. They are taped to the gallery wall in such a way that their rippling edges sometimes lift off its surface. The paper he uses has a relatively loose weave, giving each picture a softer effect; even his most sharply focused images seem, upon first glance, like charcoal drawings or finely detailed pencil sketches. In a world of color prints the size of billboards, the material properties of Lempert's artworks reveal a sensibility rooted in timeless concerns.

In the studio, in the gallery. Brian Sholis. Text published in book Relación (2018).

The search for a non-singular “image” in favour of liaisons among pictures allows Jochen Lempert to express his work’s true dimension. In his universe, everything is subject, therefore, it is through a constellation of works that the diversity and richness of it is best visualized. Visible Light is an excellent expression of this. A set of new works is shown on the main wide wall of the exhibition room in a non-linear arrangement, as an expanded cluster. One long wall only and two showcases where Lempert’s associative visual and conceptual proposal continues. One picture leads to another and then to another and then to many…in a sort of interplay between light and shadow, brightness and darkness, transparent and opaque, atmospheric and compact. And many more ideas for the observer to discover. Raw and direct, symbolic and sophisticated at the same time, Lempert’s exhibition is a rich presentation, precise but shifting, evolving and never complete, qualities that interestingly may apply equally to art and science. Jochen Lempert’s art shows this consistency with fascinating results.

Extract of text by Patrizia Dander: "In Untitled (Camouflage) (2016), the white blossom of a bindweed almost hyperreally protrudes from the shadow thrown on the plants by Lempert's upper body. The shadow reveals the complex layering of the plants, which in sunlight appear like an impenetrable wall. Shadows in photo-graphs by definition document the absence of the presence (of the shade-giving body or object). Yet, Lempert's shots go one step fur-ther. They show situations in which a presence is generated by absence, more specifically the presence of the motif made visible or even created by the shadow, a presence manifested through the medium itself."