Tobias Meier

Happiness is a warm camera with my finger on the trigger

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Tobias Meier works with photography as a form of quiet observation. At the core of his practice is an interest in how places, situations, and people can be perceived beyond clear narratives — within in-between states, moments of transition, and instances of low attention.

His photographic projects usually evolve over extended periods of time and do not follow a predefined concept, but rather an open, tentative approach. He is less interested in the spectacular than in the unobtrusive: in rhythms, pauses, and tensions that inscribe themselves into everyday life as well as into different spatial and social situations.

His work is shaped by an interest in fractures, frictions, and conditions beyond the polished — in atmospheres that emerge from the unordered, the unfinished, and the resistant. The images move between proximity and distance, between structure and fragment, between movement and stillness. They refrain from explanatory or conclusive statements and instead open up a space for slow, attentive perception.

Meier’s works are presented in different forms, both in exhibitions and in publications. He understands the photobook as an autonomous space of condensation, in which sequence, rhythm, and absence play a central role without fixing the openness of the individual images.

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He works without staging or intervention, photographing situations as he finds them.