Après Richter operates by translating Gerhard Richter’s blurring logic into a photographic system. Rather than depicting subjects, the work isolates movement, grid, and color as structural components, treating blur as an organizing principle rather than an expressive gesture.

The image is produced through controlled motion and fragmenting of an underlying grid, then enlarged to monumental scale. The result is not an image of something blurred, but a system in which perception itself is displaced—where time, movement, and surface become the subject.