In Jan Paul Evers’ oeuvre, photography as “impression of reality” is subversively dissolved. His pictures neither document nor stage a “reality” that unfolds before the camera’s lens. The starting point is his digital image archive of found motifs and motifs of his own, which are first processed with Photoshop, printed out and then photographed analogously. The decisive moment in Jan Paul Evers’ work process takes place in the darkroom, where the final motif is “worked out” during the factual image formation with templates using analog processing methods such as dodging, masking, post-exposure, or gradation splitting. This “sculptural handling” of photography produces a unique copy instead of a “reproduction” of reality. In this sense, Jan Paul Evers’ works show an “image genesis” in which documentation and abstraction, visible surface and hidden code, past and present collaps into each other. The art historian Florian Ebner aptly writes: “The pleasure taken in the photographic material, a bit of punk and a very precise creative gaze come together in Jan Paul Evers’ work and start dancing.”