'Biermann's photographic essays access the metaphysical in a distinctly contemporary context, not only do they summon the uncanny but also offer a unique and singular approach to the photographic image. His staged photographs are restricted to monochrome, reminiscent of those pristine, purist art photographs of the 1950's and 60's. He uses a panoramic camera to create a vertical, portrait format, and they present a disconcerting counterpoint of hard-blown industrial edges and surfaces with the vulnerability of nude, cling-film or fabric-wrapped bodies. Like the paintings of Francis Bacon, Biermann's diptychs and polyptychs suggest narrative sequences but paradoxically resist narrative interpretation'.

Roy Exley, 'Apparitions and Apparencies: Photography as Metaphysics. The Work of G. Roland Biermann', London, 2005