In curtain-framed images strongly reminiscent of theatre stages, birds and arms emerge from wallpapered surfaces and stage-like rooms. Letters and rocks tumble to the ground. The traces of their movement resemble threads or wads of smoke scattered throughout the pictorial space.
Duplication played a pivotal role in the series "The Early Bird (Sigh) Traces", which sparked the works shown here. In curtain-framed images strongly reminiscent of theatre stages, birds and arms emerge from wallpapered surfaces and stage-like rooms, while letters and rocks tumble to the ground. The traces of their movement, visualised on the basis of calculations and exposure, resemble threads or wads of smoke scattered throughout the pictorial space.
The surface design of the black and white series "The Early Bird (Sigh) Traces (Revisited)" is much less intricate, since it no longer relies on a hand-drawn wallpaper and the resulting ambiguity between two- and three-dimensionality. In addition, the plumage, for example, has a coarser surface and texture – as the standing bird in "The Early Bird (Sigh) Traces IV (Revisited)" vividly illustrates. At the same time, these deliberate reductions make other aspects stand out, e.g. the sculptural quality of the indentations and bulges or the trajectory of the shadows. The construction of the images was in turn emphasised by the robographic drawings of "The Early Bird (Sigh) Traces", which were made for all of the revisited works. Although at first glance the works resemble sketches submitted after the completion of the series and reproductions in the classic sense, the drawing computer – unlike conventional reproduction techniques – produces only unique pieces (photo: Tim Berresheim: „The Early Bird (Sigh) Traces IV“, 2012).