CV
Andreas Tobias is a boundary crosser—between art forms, identities, and levels of perception. Born in 1984 in Garmisch-Partenkirchen, he set out into the world early, first stepping into various roles as an actor before discovering visual art as his true medium of expression. Since then, his work has spanned photography, light sculptures, and conceptual installations, each deeply engaged with themes of identity, projection, and the interplay between reality and staging.
His work oscillates between the documentary and the staged, between organic chaos and strict composition. He photographs people as if they were landscapes and landscapes as if they were portraits—always searching for what shimmers beneath the visible form. Light plays a crucial role in his practice, not only in his photography but also in his light-based objects, which often create fragile, almost transcendent spaces.
For him, light is not merely a technical tool but a concept: light as revelation, as illusion, as transcendence. His photography invites viewers to move beyond seeing—to experience the world through a deeper, more visceral perception. "I want to see the reverse side of shadows," says Andreas Tobias—and that is precisely what his art is about. It explores what remains hidden, what only emerges when one looks long enough.
In series such as Doch-Orte, he examines so-called "non-places" as spaces of retreat, while The Island uses Iceland’s raw landscapes as a reflective surface for emotional transformation. How to Cry is a radically honest exploration of vulnerability and expression. His works are always psychological self-experiments—shifting the boundaries between inner and outer worlds, between reality and projection.
He lives in Berlin, works internationally, and remains true to his restless search for images that are not just seen but felt—moments that cannot be captured yet leave an imprint. His art is an ongoing dialogue between light and shadow, between the visible and the hidden, between the question of what lingers when everything else fades.
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