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.
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."
J. Piesbergen, Hamburg 2005 ----------