| əˈməˈmas prəˈdʒekt | - Omomas Project
Photography between presence and responsibility. In spring 2024, Franz Xaver Aicher spent several weeks at a remote school in southern Namibia – a place shaped by silence, resilience, and human connection. What began as a collaboration with local NGOs evolved into The Omomas Project: a photographic series at the threshold of portrait and abstraction, beauty and realism.
The resulting works are neither journalistic nor decorative. They capture the atmosphere of a place – its gestures, its textures, its light – with restraint and respect. The images reflect an ethic of proximity rather than distance.
In October 2025, The Omomas Project will be presented in two benefit exhibitions in Munich and Düsseldorf.
All photographs are offered in strictly limited, museum-grade editions in three formats. Each work is produced as an archival pigment print on fine art paper, mounted under conservation-grade glazing to ensure longevity and collectibility.
Edition Structure & Production
Each of the 22 motifs is available in all three sizes:
120 × 180 cm — Edition of 3 + 1 AP
80 × 120 cm — Edition of 5 + 1 AP
60 × 80 cm — Edition of 10 + 1 AP
All works are signed, numbered, and accompanied by a certificate of authenticity.
Works that appear as part of triptychs or larger compositions are also available as individual editions.
(Oshivambo: Encounter, Coming Together) 60 × 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) - SOLD OUT Where desert and ocean meet, no boundary is formed – only transition. This key work explores encounter in its most profound form: silent, powerful, without words. It stands as a metaphor for the Omomas Project itself – a coming together against all odds.
|Gôas No. I (Khoekhoegowab: Salt Crust / Solidified Earth) 60 × 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields reminiscent of oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
Gôas No. II & III (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. II & III (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. II & III (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. IV & V & VI (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. IV & V & VI (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. IV & V & VI (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. IV & V & VI (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. VII & VIII & IX (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. VII & VIII & IX (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. VII & VIII & IX (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. VII & VIII & IX (Khoekhoegowab: Salt Crust / Solidified Earth) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
|Gôas No. X (Khoekhoegowab: Salt Crust / Solidified Earth) 40 × 60 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Pigment, crust, colour – these works oscillate between painting and photography. Abstract fields evoking oxidation, salt efflorescence, or pigment sedimentation. Pure transformation – suspended between matter and light.
Ahemba (Otjiherero: Touch) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) These works present landscape as body. The sand appears soft like skin, the light acts as a tactile gaze. They speak of proximity and distance, of intimacy between nature and the viewer. A sensual series about the tangible within the intangible.
Ahemba (Otjiherero: Touch) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) These works present landscape as body. The sand appears soft like skin, the light acts as a tactile gaze. They speak of proximity and distance, of intimacy between nature and the viewer. A sensual series about the tangible within the intangible.
Ahemba (Otjiherero: Touch) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) These works present landscape as body. The sand appears soft like skin, the light acts as a tactile gaze. They speak of proximity and distance, of intimacy between nature and the viewer. A sensual series about the tangible within the intangible.
Ahemba (Otjiherero: Touch) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) These works present landscape as body. The sand appears soft like skin, the light acts as a tactile gaze. They speak of proximity and distance, of intimacy between nature and the viewer. A sensual series about the tangible within the intangible.
Okuruuo (Otjiherero: Origin, Source) 40 × 60 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) Like veins, the lines of sand traverse the landscape – fragile structures reminiscent of riverbeds, roots, or circulatory systems. This work forms the visual foundation of the exhibition. It speaks of beginnings, branching, connection – and ultimately poses the elemental question: Where does everything originate?
|Omuriro I, II, III, IV (Otjiherero: Ember, Inner Fire) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) In the darkness of the desert, organic, almost floating sand formations are revealed. These images resemble shadow-prayers to the light – meditative, archaic, enigmatic. A silent series about inner heat – about that which glows without burning.
|Omuriro I, II, III, IV (Otjiherero: Ember, Inner Fire) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) In the darkness of the desert, organic, almost floating sand formations are revealed. These images resemble shadow-prayers to the light – meditative, archaic, enigmatic. A silent series about inner heat – about that which glows without burning.
|Omuriro I, II, III, IV (Otjiherero: Ember, Inner Fire) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) In the darkness of the desert, organic, almost floating sand formations are revealed. These images resemble shadow-prayers to the light – meditative, archaic, enigmatic. A silent series about inner heat – about that which glows without burning.
|Omuriro I, II, III, IV (Otjiherero: Ember, Inner Fire) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) In the darkness of the desert, organic, almost floating sand formations are revealed. These images resemble shadow-prayers to the light – meditative, archaic, enigmatic. A silent series about inner heat – about that which glows without burning.
|Omuriro I, II, III, IV (Otjiherero: Ember, Inner Fire) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) In the darkness of the desert, organic, almost floating sand formations are revealed. These images resemble shadow-prayers to the light – meditative, archaic, enigmatic. A silent series about inner heat – about that which glows without burning.
ǂ Ondjira (Otjiherero: Path / Way / Direction) 60 x 80 cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) A single line cuts through the landscape – raw, persistent, unstoppable. It speaks of journeys taken, of ancient paths inscribed into the land over millennia. Ondjira is more than geography: it is a metaphor for continuity and orientation – for the human instinct to read the traces of others and leave one’s own behind.
!Nani (Khoekhoegowab: Uprising / Storm / Wild Water) 60 x 80cm (Edition: 10 + 1 AP) 80 × 120 cm (Edition: 5 + 1 AP) 120 × 180 cm (Edition: 3 + 1 AP) The only black-and-white series of the exhibition. Here, water speaks: untamed, forceful, impulsive. Spray becomes drawing, the wave becomes ecstasy. A counterpoint to silence – and perhaps its mirror.
| ɑːˈkaɪvl̩ prəˈdʌkʃn̩ | Archival Production
Each artwork is produced using a highly exclusive, museum-grade process:
Printed on Fine Art Metallic Paper – a museum-grade medium that enhances luminosity and depth, allowing light to appear as if it were emanating from within the image itself.
Mounted under genuine sapphire glass – one of the clearest and most durable transparent materials in the world. It offers exceptional brilliance, UV resistance, and long-term conservation quality.
Framed in hand-finished ramin wood, selected for its fine grain and stability, providing a natural and understated counterbalance to the intensity of light and materiality.
This production method renders each work not only visually unique, but materially enduring – designed to last for generations.