Raphael Zollinger constructs situations that incorporate the viewer and through which the work is completed. His concept-driven practice is concerned with the dissemination and consumption of information, which references news media, surveillance culture, and art history through sculpture, installation, photography and drawing.  Moreover, through his fascination with the role that objects and images play as a vehicle to elicit the uncanny and to provoke the sublime, he asks the viewer to question and re-evaluate himself in relation to the work. 
His recent photographic works, Documents in the Round, is a series exploring the genre of portraiture and landscape, the body and space in time, and the role of identity in the digital age.  Each large-scale photograph exists as a document of a performance in which the camera moves around the subject in a defined space, after which all of the frames are compressed into one single image.  What remains is a record of compressed time, a portrait of a person that contains all of his physical information from every angle, yet their specific identity is blurred creating a tertiary image referencing the original form - a palimpsest.  Rather than creating a ghost like image, which refers to stripping away, this process does the opposite; it is an all-encompassing overabundance of information and detail - a balanced overexposure.  This is imagery speaking to the here and now, redefining traditional genres, by placing pixel arrays upon pixel arrays to create a super-image.  The experience of movement, spatial awareness, and duration of time are entrapped in these two-dimensional archives that reveal as much from a distance as they do up close.     
His other continuing body of work explores the imagery of conflict, much of which is appropriated from news media.  These works form a dialogue surrounding the social and political dimensions of nationalism, belonging, and personal commentary.  By utilizing physiological Gestalt, interactive technology, and humor in his work, Raphael attempts to create scenarios that are often removed by time or space, as they describe events from afar, and brings these scenarios home as a visceral experience for the viewer.