another twothousand photographs or, in any case, an incredible number of them. Each person had a specific idea of what art was. And, of course, all their ideas were different. I was in the position to win their trust, now that they trusted me enough to share their images with me. Then I made my revisions. In the end, this led to maybe one or two usable works. Nevertheless, in agreement with the employees, all the images were shown, and after my minimal revisions, it often happened that they no longer recognized their photographs. By removing or changing the references, for example, the original relation to the image was no longer possible. This form of claimed truth, inherent in every photograph, is no more than a rather concrete guideline of a projection surface. None of the employees felt corrected or used in any way – or nothing negative reached my ears. I can keep a fine distance, because over the last years I’ve worked almost exclusively with the slides I purchased. Seen in that way, someone would first have to show me the original image. My originals are produced in editions which nevertheless differ from one another. That’s not at all good. For instance, it happened once that a forklift collided with a shipping crate filled with#

an image, and it was destroyed. I wasn’t able to reproduce it because Kodak had changed its paper quality by then, and I couldn’t get what I needed visually. The paper was too hard.

Holschbach: As an artist, how do you go about dealing with the problem of technical transitoriness? How do you store your stock of images?

Sasse: I store intermediate versions of my images. For the first time in many years of working on the computer, I deleted my folder of processed images (3 gigabytes of data) by mistake. Since then I attach more importance to making backups. I have a redundant data storage space not located near the other data. But, at some point, doesn’t one lose the data when the works are transmitted? The majority of the photographs, in analog exposures now, are also lost at some stage, and the next time the hard disk crashes, many of the digital images will be gone too.

Holschbach: I had another question regarding the databank complex. It’s great that we can see your images in the Web, and arrange them according to certain categories – but the categories create a problem, don’t they? [4] The images can only be found