Sabrina Jung is 31 and speculates about the time when she will probably lose her identity.

MOSSLESS: How do you think your work plays with the idea of mystery?
SABRINA JUNG: If you have a look at my work “Masks”, this is the most easy way to describe it. You see an image, which you can trust, but at the same time you get irritated, because there is something else you don’t know.

ML: Where did you grow up?
SJ: I grew up in a small village next to a brown coal mining area in the western part of Germany. The industrial surrounding seemed quite common to me, until I recognized that people from elsewhere looked frightened. I started taking photographs of the coal mine and made a photographic work about the process of the disappearing of an village. All inhabitants had to move to a completely new constructed village, because they enlarged the coal mine area. I took the photos over four years and it was a complex experience. As well to note the changes in nature as the removing of houses during a day, but leaving their gardens untouched. Furthermore the emergence of new perspectives, the feeling of losing orientation, the conspicuousness of desolated streets with gigantic seeming street-lamps.

ML: When did you know you wanted to be a photographer?
SJ: Photography fascinated me since I was a small child. At that time I got a cheap plastic camera with which I took photographs of my dolls, stuffed animals and bunnies. Later, when I was a teenager I got my father’s SLR camera. I began to take photographs of my furniture, for example my old orange painted cupboard with a white standard-lamp from the 70´s or my heater. I combined photos of the same furniture from similar perspectives. This was the time when the idea grew up in my mind to study photography. 

ML: How do you decide what a good photograph is?
SJ: It should be done well - formal, color, …It should have an inner content, this hasn’t to be nameable. It should be fascinating, make me wanna look at it twice and it should keep it’s mystery.