Energy Transforms Matter
The Picture of Light
On the Edge
Wall Monochrome
Liquid Horizon
The Prora Project
Travelling Landscapes
Constructed View
Space Monochrome
The Colors of Black & White
Das Fenster


When I first spotted the blindingly light greenhouses, sprawling to the size of an agricultural estate against a background like a landscape, the luminous field lit the entire night sky. This was light's "no man's land": a perspective drawn by a supernatural force.
In place of the horizon of the agricultural field, I saw the horizon of urbanisation, where the synthetic sunlight kept the plants growing during the night. In its own way, this was a concrete expression of Charles V boast that "the sun never sets on my kingdom". In this never-ending cycle, energy is transformed into growth, and life is equated with light. This is the manufactured photosynthesis.

I have linked this light-icon evoking the house with another analogy of a house: the mobile home, or caravan.
Just as a mobile home has the connotation of transience through locomotion, a greenhouse cast in the architectonic form of a residential house is an expression of growth, the scene of permanent change. Although both allude to the house, neither of them is a house in the literal sense of the word. They both share the technological fatality associated with acceleration and speed. The symbolic representation of the house of 'homo technicus' appears sometimes as an agricultural estate and sometimes as the illusion of living one's life close to nature. Beyond any real or metaphorical meaning it might have, a greenhouse fitted out with lamps is also a visual phenomenon, the otherworldly symbol of sunlight.In order for a photographic image to come into being, one needs light. I read somewhere that by absorbing light; a photograph reduces the total amount of existing light present in the universe. Perhaps the function of a greenhouse, which appears to be the essence of light, is to make up for this loss by emitting light. The architectonic object is the light of a potential photograph, which carries within the spectacle its abstract image, as well. In other words, the light of the image becomes identical with the image of light. I could also say, that rather than producing photographs, I wanted to capture the light escaping from this universe. Hence, I came to the idea of using a mobile home both as an architectural analogy and as a device to capture light in the manner of a camera obscura. The mobile home became the exposition chamber, and also the site of photographic photosynthesis. The locomotive version of a house translated into the portability of the photographic apparatus. The low light-sensitivity of the paper, along with relatively long distance from the light source, extended the exposition time to a period of days. To operate the apparatus without interference, I devised an automatic exposure timing mechanism, which made my continuous presence inside the mobile home unnecessary. The mobile home gave a home to the picture of "light space".
The paper functioned as a projection surface, where each day a certain quantity of light was added to the photograph in the making. According to the basic principle of the camera obscura: the image of external reality received through an aperture in a darkened boxlike device creates a kind of dimensional transit, whereby the two-dimensional representation of space becomes the synchronous image of both the projection and the recording.