If you get closer to the lustrous surface, you can see the matrix into which the images are transferred. Even the skin, the Urban Skin in which the cities are imprinted are in movement, transparent, blebed, gelatinious. The ductus with which the acrylpolymer has been painted comes strongly forward.It seems as if the material could turn into liquid at any moment.

The question of objectivity is raised: Is a precise and well-focused photography a more authentic image of cities than these foggy phantoms, in which movement and lights are manifested rather than being depicted?
A clear subjectiv interference is the way the Urban Skins are installed. The London- floorinstallation produces on pavement-heighths with about 10m length an intense dynamic. Venice with its artificial character, comes devided as a twin curtain, the pittoresk stage setting of the old city juxtaposed to the blue shimmering tristesse of the airport. Finally the Hamburg works framed on perspex, somehow floating in front of the walls, cause the view into an aquarium, where the city phosphorescences like a coral reef out of neon.
Even if it is fruitless trying to recognize prominent places and characteristics of cities in the works, you will be infected by the subtile intensity of their phantoms. Then their own character is evident, the reality behind the concrete structure: the essence of each city."

Dr.phil. Thomas J. Piesbergen, Hamburg 2005 ----------





Claus Friede, weltbekannt e.V.
Marianne Pitzen, Frauenmuseum Bonn

Ruth Sachse, Phototriennale Hamburg

Dr. phil. Thomas Piesbergen 1 2
Sara Sello, Kunsttreppe

Jesper Soerensen, Zeitblick

Dr. Uta Kuhl, Schleswig-Holsteinisches Landesmuseum, Schloß Gottorf 
Dr. phil. Thomas Piesbergen, "Mexico DF"