The poster work consists of four b/w photographs showing the area behind the container building on which they were affixed and allow the viewer to look through the building:
On the north-facing upper edge, the east side of the container, protruding metal structures made of transverse and longitudinal shaped tubes can also be read as closed window openings.
The display of the poster-sized photos in this structure on the east and west sides of the building thus opens up the container to the grounds behind it. The posters open up the view through the building.
The posters thus reverse the view and expose it. Previously, this view was closed and opens up to the viewer in black and white. At the same time, the closely spaced series of images captures the movement of passing by as if through a ribbon of windows.
The series of photographs displayed side by side in the metal structure of the building draws together to form an image surface and uses graphic and textual elements of a spatial plan, with which the artist alludes to the constantly growing construction measures and buildings in the surrounding area.
“five to twelve at a quarter to two” – the text in a kind of plan window that is inherent in the photos – is therefore also to be understood critically and ambiguously.
The exact shift of the photographic gaze through the position of the camera – frontal to the image in the back of the building – is also like a visibly slight change of position “from window view to window view” and thus the movement of the observer is also visible in the entire image area.
She captures the moment and finally recaptures the “frozen image” at the exposed corner point of the upper edge along the building – just as this can happen again and again through the memory of a place or an event, with a slightly changing view.