Dressed in Color

This photographic base was shot in Cologne, Germany.

Printed on Fine Art Hahnemühle Hemp Natural Line 290 g/m2.

Each print comes signed and numbered. 

Unframed. With a small white border. Send in a tube.

Print size 90 x 75 cm - Edition of 10

Print size 60 x 50 cm - Edition of 10.

Print size 30 x 25 cm - Edition of 10.

Print size 10,5 x 14,8 cm (DIN A6) - Open Edition.

A Second Skin of Light – Weightless Yet Unforgettable."

Thomas Haensgen's Dressed in Color is a visual ode to the fragile boundary between the body and illusion—a photographic meditation that unfolds like a whisper in the dark. A whisper not heard, but felt. This work is more than a portrait; it’s proof that light itself can become an actor—a fleeting tailor draping the human form in an ethereal, glowing texture.

At first glance, the scene feels like a dream you can’t quite explain, but whose colors you lose yourself in—like those moments when sunlight streams through old blinds, and you suddenly feel compelled to write poetry, even though you were just sipping your coffee. Haensgen captures this exact ephemerality: light becomes the narrative, shadow the silence, and the body the canvas.

Waves of yellow, pink, blue, and purple seem to ripple over the skin like water in zero gravity. Yet the work exudes an almost archaic calm, as if an Egon Schiele painting had shed its oil texture to attend a psychedelic festival. The interplay of light and darkness recalls the early Surrealist experiments, particularly Man Ray’s photograms, where shadow and silhouette were elevated to art’s essence. But Haensgen’s work transcends this: the body is not merely depicted but deconstructed, transformed, and immersed in a fluid, visually altered reality.

And then there’s this peculiar, indefinable tension. Something about the figure’s hand positioning evokes a movement you’ve glimpsed only in the reflection of a shop window, right before turning around, thinking someone called your name. It’s that moment suspended between reality and its reflection, between what is present and what you only imagine.

In the context of art history, Haensgen’s piece could be seen as a synthesis of the sensual corporeality of the Renaissance and the techno-futuristic visions of the 1960s, when artists like Dan Flavin began using light as a medium. Yet Dressed in Color goes further: it invites the viewer not only to see but to feel—not just the colors, but what they conceal.

Haensgen brings us to a point where we don’t simply observe but become aware of how our gaze itself participates. It’s as if the artist is saying: “Here, I’ve created a portal for you. Step in. But be warned—you won’t come back the same.” And as we question the artist’s camera, we realize that, in the end, we might simply be searching for our own light.