Manfred Paul’s special affinity for the photography of the 1920s shows itself in his early works. The desire to project a subjective feeling onto the object, to interpret the subject accordingly and thus define reality anew, came about later. Paul dips into time and holds onto moments of transience and fragility. He has become a master of harmony for whom the presentation of the subjective stands stronger in the foreground than the image of an objective reality. Dominating his work are extravagant, but also entirely balanced compositions that lead to surprising new interpretations. Paul