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It is often said that photography is a fast means of artistic expression: just slight pressure on the shutter release button and the photosensitive layer of film, exposed for a very short time, gives life to a completed image.
One can say much about Ricarda Roggan, except that in her work she is a fast photographer. Indeed, in one year she produces on average not more than ten works, the only ones among many that have the artistic requisites, which are quite rigorous, to be selected and exhibited.
Born in Dresden, Roggan studied at the Hochschule für Grafik und Buchkunst in Leipzig and the Royal College of Art in London, before choosing to live in Leipzig. She dedicates a lot of time to herself and her photographs; with painstaking patience she sets up each frame carefully until everything corresponds perfectly to what she wants to achieve, because she categorically rules out any kind of later digital re-working. Roggan continues to work using traditional techniques, capturing on her photographic plate, which is totally analogical, only what is there in front of the lens. And everything must be perfect in every detail.
For some years now, Ricarda Roggan’s artistic work has centred on the theme of disused sites, liberally inspired by her work environment. Indeed, like many artists in Leipzig, she has set up her own studio in an ex-cotton factory in the city, a place very much tied to its history and origins. There she finds areas which she adapts meticulously, cleaning and in part transforming them, before they are immortalised in her large-format photographs. (from the essay Ricarda Roggan: Interieur, ATTIKA, SCHACHT by Julia Tropp)
Contemporary Photography from Eastern Europe 
L’ Arte del XX secolo e oltre 
