Five transparent panes are placed vertically in a short distance apart as a high rectangle in the two arms of a wooden rod. The video recording of a moving stream of water is projected onto the panes. The motif connects with the „liquid“ glass. The movement is, depending on the spatial light conditions, partly only recognizable by slight light reflections. The light, which is thus only just moving, gives the rod shape, which is diffusely visible through the pane, the meaning of an auratic sign of life. Transparency in its inversion is a suggestion, a mystery.

The experimental film Vulkaneifel follows no narrative, no dramaturgy, but is guided solely by the places familiar to the artist since childhood, which she has visited again and again over the seasons and whose changes she has documented. A special tension between the surface and the tactility of the images is created by filming with a Bolex, which, operated by hand crank, can produce half-minute sequences on two-and-a-half minutes of 16 mm film material, with no possibility of checking the views she has chosen. Thus, the imprinting of the landscape, its sculpturality and plasticity, not only in the 16 mm film images, but also in the artist‘s memory, becomes a necessary procedure for the views and impressions she finds.

Wide patches of fog, an avenue of poplars, changing cloud formations, treetops, volcanic craters, clearings, watercourses and rocks: Vulkaneifel uses black-and-white film images to unfold a search for the presence and grainy materiality of landscape: a culturally evolved, barren, sparsely populated region in northern Rhineland-Palatinate shaped by volcanism. The artist‘s book, parallel to her film of the same name without sound, documents with text above all also the empty spaces, the so-called lost film images.

Irregular spots were etched on both sides of paper-thin sheets of glass. Each spot is a record of a ray of sun shining on a wall of the artist’s studio. In the time it takes to register its outline, the ray’s position changes, forcing repetition of the activity. The sequences that create the record of light’s movement are at the same time its materialization in the form of glass.

The installation of overhead projectors and glass panes seems like a meditation on light. It emerges from the interplay of glass and light and creates colorful, structured pictorial spaces. Through the projection of found forms from discarded glass panes, a composition of different material structures emerges on the wall and evokes a reminiscence of modernism.

The high fens is a protected moorland in the Eifel National Park on the Belgian border, an unreal no-man‘s land that is only partially accessible and has already lost 95% of its original size. Again and again, the camera focuses on the ground, which is criss-crossed with watercourses and overgrown with brown grass, then pans to shrubs or birch trunks, offering rare views of the grasslands stretching to the horizon, and from there back to the ground. What emerges in this way, accompanied by a subtle voiceover rendering the artist‘s documentary impressions, is less the typical nature documentary or tourist impression of a moorland landscape than a sense of the essence of this area.

The artist booklet „The Weather of Proskau“ was created within the framework of the „German-Polish Art Festival - Hitzepol“, which took place in Proskau (Prószków) in Poland. The occasion for this project and the discussions with the inhabitants of the region was the 100th anniversary of the highest temperature ever measured on the present territory of Poland on 29.07.1921. The weather stations in the Pomology of Proskau, which at that time still belonged to Germany, showed 40.2 degrees Celsius: a record that has not been surpassed to this day. Since then, the climate has changed, and so one of the goals of the residency was to present current perspectives on the issue of climate change and global warming.