Florian Mueller’s work are exhibited and published internationally and received numerous awards. Since 2013 he is a professional member of the BFF, the German Association of Freelance Photographers. In the same year he founded the „jetztzeit Club“ together with Nadine Targiel and Michael Streckbein to exhibit together, to show the unusual and to give eyes and thoughts a moment to pause. To take the ordinary from reality.

After first personal projects, jobs as set-photographer for TV production companies and advertising agencies he developed the desire to progress and to force and establish his way of photographing in order to extend his own artistic and photographically context. Influenced by the second important professional aspect – the communication – arose over time multidimensional and ambiguous images which almost demand an interaction with the beholder.

A trend to the abstract can be identified. Not as an alternative to reality, more like an image of substantiality in communication with the emotions and subjective limited perception of the viewer.

But the process of abstraction is not limited to the motive itself. Apparently volatile in subject and method series are alternating: Cloud photographies in the series „Nimbus“, lost in singularity but clearly present at the same time, fragments of concrete-architecture of churches which appear tob e a painting, detached from their sacred context and their monumental structure.
An important role in the conception plays the visual raw element. Fort he pictures in the series „PolaLux“ Florian Mueller uses a Polaroid SX-70 Landcamera from the 70’s, scans the pictures and enlarges them but leaves them in their surreal and imperfect impression.

In times of an endless flood of images and greed for perfection he sees the necessity to look into an entirely different direction: The images is not enough, it is the abstraction and the individual view oft he beholder, together they reach into and below the surface of customary patterns of conception.

In this case abstraction is focused on the reduction to certain facts, forms and objects but not as an experience of pure non-objectivity.
The imagination of the viewer supplements what is absent; what thematically is not dissolved receives, an invisible layer through the observer.
It is a about the evocation of thoughts, associations, emotions and memories.