This profoundly important encounter with the principles of architecture resulted in a noticeable influence on her paintings and cycles. The influence of these early years can be felt in the artistically arranged levels that run through her photography, the spatial dimensions, and not least in the compositional density of the images, which offers a significant amount of room to associations and poetry.

Soon the camera replaced the drawing pencil and Elena Parris’s view of the world was shaped by the immense possibilities of this medium. It was ideal to combine the curiosity and creative potential of the promising Lucerne artist in exciting photographs. Thus the path abroad was mapped out: Art studies in Berlin, work with well-known representatives of the genre, such as Helmut Newton, and locations including New York and the Cannes Film Festival, are just some elements of this vital biography.

After very successful years in commercial photography, the desire to break away from the conventional forms of the medium and to create and formulate a personal visual language have come to the fore. Elena Parris’s photographs can be seen as a deconstruction of reality that filters, enriches, and overlays with other motifs to create a new, sensual vision of reality.

Photography has long since ceased to reflect reality. As a technique, it enables the idea of condensing the original image impulse into an autonomous vision in superimposed layers. This creates worlds of their own, beyond reality, which give the viewer the opportunity to enter ‹terra incognita› and to expand their sensual experience.