Living between Germany and Korea, Sascha Pohle works with material, temporal, and cultural traces, examining how they echo the present. Remnants, found material, diverse, often eclectic collections of handmade and machine-made objects become archaeological, anthropological, atlas-like, or even fashion-evocing displays. Drawing from popular culture, film, and art history, he works across sculpture, video, photography, and performative installations, often through site-responsive collaborations with local communities.  Especially film and video extend Pohle's practice, translating material and cultural traces into time-based narratives. Movement and duration reconfigure objects and images, producing shifting relations between document, memory, and fiction.

Mobile photos of urban asphalt, transformed into knitted fabrics and exhibited as folded ‘walks’ — fluid intersections of garment, archive, and map.

Black glass objects cast from Jeju’s styrofoam waste and coastal rocks, displayed on buoy‑light boxes. Inside each piece, jewel‑ or creature‑like forms turn marine debris into luminous artifacts.

Glass objects made from an Amsterdam‑North floor capture fossil‑like imprints of living, reflecting on unstable grounds and material memory

( ATTACHMENTS 2015, THE RESIDUE ATLAS 2026, MINWHAPHORMOSIS - in progress)

Woven bamboo forms inspired by Blossfeldt’s plant photography translate microscopic structures into Chinese basketry techniques, inviting reflection on cross‑cultural and technical exchange.

Molded from East German mesh bags and set atop styrofoam buoys, these ceramic fossils trace the material memory of daily use, consumption, and decay.

Discarded DVD/CD drives become fossil‑like “bricks” of a modular sculpture. These techno‑ruins merge digital waste with echoes of ancient design, inviting reconstruction into new spatial constellations.

Empty cardboard packages of electronic devices are filmed against black. Across five chapters, discarded containers reappear as anthropological artifacts, endowed with a fetish‑like aura.

Mapping every Rijksakademie artist since 1993 by name, year, and studio onto the building's floor plan. The grid exposes institutional memory, questioning selection, ambition, and erasure—now held by the Rijksakademie for perpetual revision.

From prompts of the Diver of Paestum and a migrant artist rights report, AI‑generated images emerge. Silver‑leaf restorations trace cultural repair, bridging fractures of belonging and migration.

Emptied film boxes from the Goethe‑Institut Amsterdam attic mark the absent reels of a cultural archive. Arranged against historical interiors, they act as migrated ornaments, unsettling boundaries between memory, heritage, and décor.

SKINS translates forensic scans of skin residues from TVXQ’s stage costumes into woven and printed abstractions, resonating with the lyric “Under My Skin.”

Through redrawings, rephotographs, and appropriated artifacts styled as ethnographic displays, this installation probes German “Hobbyism/Indianism” and its myths of authorship, originality, and exotic authenticity.