Martin Klimas turns some visual habits upside down with his high-speed photography, because the viewer gets to see things that the human eye would not recognize in real time. Spectacularly, he sabotages still life as a genre. The arrangement of flowers in vases made of glass, earthenware or clay still follows tradition. Only the essence of the vanitas representation the photographer takes literally. It is not only symbolic: after all, the flower as the main motif, which is subject to withering, is not directly affected, in contrast to the vase, which is dramatically broken. The active process of transformation is only visible because a steel ball shatters the vessel with an exposure time of a 7,000th of a second. The shooting equipment is located in the studio, where Klimas arranges the anonymous background in color to match the picture ensemble. The camera is triggered by means of a light barrier. The proverbial snapshot conveys anything but stillness - but the flower, the epitome of beauty and also of transience, is shown here in its most perfect being, while everything around it perishes in the greatest chaos. The viewer, of course, knows what the flower is blooming. Other series are similarly dynamic, such as the "Porcelain figurines". Martin Klimas lets porcelain objects fall from the ceiling so that they shatter on impact with the floor and jump back up again - at this moment the camera captures the scene: in a frozen or sublime moment the destruction of the old and the temporary, fractal new creation lie close together. All this would not be perceived by the human eye. Nor is there sufficient responsiveness to trigger the camera by hand. If Klimas has developed a special technique for the still lifes, he becomes inventive with other groups of images. In a series of photos of birds of prey, he let the animals soar until they, too, pass a light barrier and virtually take a selfie. The result against the monochrome-gray background scenery are scenes of absolute power, infinite calm, and the greatest tension. Just such staged pieces of nature, which seem to be thrown out of reality, the natural environment, lead us to the state of threat to our environment or nature we live in, without actually being able to see it. In the service of pure light imaging - the old term for photography - are cycles such as the "Polarizations", in which the artist directs polarized light onto transparent foils. Only the exposure liberates the entire color spectrum from the transparency of the motif. In other works, Klimas consistently lets the color dance. In his "Sonic Sculptures," he pours pigments onto a flat surface under which he lets loud music boom through loudspeakers and a membrane: this creates random choreographies somewhere between Carl Orff and Miles Davis.