The number three relates to creativity, intelligence and synthesis. It also resonates to the energies of body-soul-spirit, thought-word-action, past-present-future.

Its symbolism is apparent throughout religions and it, furthermore, stands for the principle of growth.

In our ever faster growing civilization, consumption is at the core of our need to survive and of our esteem.

Managing this growth in a sustainable way is the core necessity for us to be able to build our future.

Environment-Society-Economy form the three pillars of this sustainability.

Yet, very rarely are they in balance.

With the series Trinity Rodiek wants to raise the awareness of this imbalance, by photographing sites that mainly deal with world trade, consumption and growth.

The images where done in the dark room by working with cut-out forms, leaving parts of the images underexposed. In the images we have a clear view on the scene through uneven ‘pillars’. In other images the clear view gets obstructed by commodities.



In southern Austria, where I grew up, there is often a thick layer of fog hanging over the valley during the winter months. The moisture of the air falls on the landscape and the coldness of the air transforms it into a dream-like canvas.

Seeing this reminds me of the romantic poems of past times, written about the rolling hills and lush vegetation. However, there is an ominous vibe of the uncomfortable hanging in the air.

In Austria there is a beautiful sense of a deep connection between people and nature and a profound feeling of togetherness, nourished by the values that we live by. Yet, these values can pose a strong burden and there is an underlying current of the ‚unspoken’. Everything seems subliminal; love, hatred, happiness and depression.

With this series I am travelling to my childhood home in search of imagery that connects with my own recollections. Using sound and a distinctive colour palette to allude to the quiet and uncanny side of rural Austria, where the small communities provide for a stable façade, while often concealing the fragility that lies within.


The White Lining

This body of work consists of a series of photographs of the industrial environment surrounding our urban spaces. While the work is not a document or typology of industrial space in general, it functions as a portrait of a particular spot at a certain moment in time.

Through the reductive nature I am suggesting a formalized industrial landscape we are rarely aware of. With no narrative present, the snow, gray sky and white gas tanks alienate the landscape, creating an estranged scenery, giving the images an out-of-time, still life character.

The images capture the industrial zones surrounding our urban world to allow raising awareness of the environmental concerns that have become paramount.