While spending three months in Dresden, Germany on an artist’s grant in 2002, Fredrik Marsh was drawn to the remains of the East German Communist-controlled industrial-military complex and its rebuilding and reconstruction. His large-scale panoramic photographs demonstrate the juxtapositions and ironies still abundant in the post-communist world, showing the old and the new as well as the grandeur and the decay of these once-majestic buildings.

Joel Snyder, University of Chicago art historian observed: Modern art, it has been claimed, involves a transfiguration, a remolding and reformulation of the commonplace. Fredrik Marsh's photographs defy this handy theorem by addressing, at least nominally, a subject that is foreign, exotic and beyond our everyday experience. These pictures are moving, not beautiful, unsettling, not comfortable.

 While spending three months in Dresden, Germany on an artist’s grant in 2002, Fredrik Marsh was drawn to the remains of the East German Communist-controlled industrial-military complex and its rebuilding and reconstruction. His large-scale panoramic photographs demonstrate the juxtapositions and ironies still abundant in the post-communist world, showing the old and the new as well as the grandeur and the decay of these once-majestic buildings.

Joel Snyder, University of Chicago art historian observed: Modern art, it has been claimed, involves a transfiguration, a remolding and reformulation of the commonplace. Fredrik Marsh's photographs defy this handy theorem by addressing, at least nominally, a subject that is foreign, exotic and beyond our everyday experience. These pictures are moving, not beautiful, unsettling, not comfortable.