Studied visual communication with a degree in photo/film design at the FH Bielefeld. In 1992 we successfully completed our diploma with experimental photography under Prof. Karl-Martin Holzhäuser.It´s our objective to show the function of nature and its natural processing printed on a slide. By visualizing an everyday plant  on a slide we can find its characteristic marks like footprints left on the material. Thus the photo gets to be a relyable testamony and this way it´s going to be an extraordinary and unique proof of the natural process. During our studies pictures were taken by the Camera Obscura and we participated with our work in the exposition "Function of Objects”. That was the beginning of the alchemical calendar with our specialized camera, as well as the joint work on the Master examen which allowed us to do experimental photography with 9 x 12 slides. 
Participation in the FH publication on Innovative Photography, authors Professor Gudrun Scholz and Professor K.-M. Holzhäuser. Inclusion of slides in the annual gift of the Bielefelder Kunstverein, Museum Waldhof. Performing of exhibitions, presentations and events.   

The starting point for the unique photographic works of Dorothea Bornemann and Ruth Güse is concrete photography.

They have apparently developed something quite unique in photography. It is a mixture of chemogram, schadenography and much more.

The work can be assigned to the concrete photography according to the field of intersection. But it is much more, because the photographic works do not only deal with light and light-sensitive material but it is also "concrete" and "pure"...

In contrast to the rather schematic and strict structure of this type of photography, the two photographers play with the possibilities of nature and focus on the transformative process that these means make possible. Mother Earth is in a sense the true artist - plants, dust, earth, flowers - whose means are used respectfully and thoughtfully by the two photographers. In this way, the artists create images that depict a surprising perspective of reality. The photography of Dorothea Bornemann and Ruth Güse is based on intuition, a rather female quality. As a consciously used means, this becomes contrary to the logically schematic procedure of concrete photography.

In this way, places, lost places, cities and skylines are "discovered" and, through their photography, transported into a new reality, which may have always been there, but was just not seen. 

Contrary to the representational, the non-representational or concrete photography strives to make basic structures visible and to question their self. This approach can be compared, among other things, to concrete painting, which, in contrast to abstract painting (photography), is neither symbolic, nor can it be interpreted as a mood or as an image of nature, but only wants to mean itself. (To depict only itself). Accordingly, this type of photography can also be classified as a sub-area of concrete art.

However, it depicts reality and not only "photography itself". The images are deliberately chosen by us. We use the means of concrete photography to create abstract photography!

The focus is clearly on the means of concrete photography: the photographic process, as well as the photography itself. The result of our work is a unique photo, as well as a recognizable image.

Individuality is a strong characteristic in nature. It is the same in photography. Our works play with the characteristics of light, colour and nature. For some time, we have been exploring new and unusual processes, in comparison to conventional photography. By exploring , we strive develop a our own visual language. In our photographs, light is not the only thing that leaves traces on the film. We also use physical and chemical processes with natural materials.

The slide films are placed in a vegetable brew before exposure. During this complex process, traces are formed on the slide material. The original motif is thereby arbitrarily alienated and unique specimens are created. By concentrating on the details, we open the piece to  viewing on two different levels, the realistic view and a new interpretation of this reality. 

Our inspiration comes from cities, landscapes and people, without knowing how the processes will affect the chosen motif. After developing, the most exciting moment is always the seeing the results on the final picture. Scratches and white defects can appear. The original motif is partially overlaid, alienated or no longer recognizable and it recedes into the background. In most cases, colour-intensive pictures appear, which do not reveal their actual origin. The pictures open a new world between nature and photography.

The ambiguous nature of the image, visualizing the conscious and the unconscious, inspires us again and again to explore new perspectives and experiments. We marvel at how varied and fascinating nature can be when it is allowed to depict itself . Such a unique treasure is revealed. We know so little about natureand she is so vunerable to humans. The observer may engage in an encounter with nature, colour, light and the rare radiance of the photographs.  The photographed nature/cultural landscape often fades into the background and something new is created. Sometimes even the natural substrates destroy the intact urban landscape, leaving their traces on the slide material. With our photographs we show how important nature is. Therefore our unique photographs are an appeal for the careful handling of the environment.

All pictures are taken with a view camera with 9 x 12 slides.