Lise Chevalier

Erosion, Il faudra trois saisons, Monument anonyme, Les vingt et une nuitsErosion, Three seasons will be needed, Anonymous monument, The twenty-one nights

Born in 1985. After studying in Ecole des Beaux Arts of Montpellier, then in Berlin University of the Arts where she obtains her master in Fine Arts in the class of Lothar Baumgarten in 2010, Lise Chevalier works and lives in Sète.Lise Chevalier’s work is characterized by the use of different medias, such as photography, text and drawing. Therefore, this interaction forges a narrow link between images and poetry. Each of them is an optical system of assembling which performs alternately material and mental images. The changing form of presenting her photo-graphs, her texts, her drawings and her slides is part of the way she works.

Text written by Christoph Tannert,director of the international cultural centre Künstlerhaus Bethanien in Berlin

«Lise Chevalier sees dreams, fantasies and mental projections complementing each other quite logically. Sooner or later, this shaped diversity opens the view to imagined spaces in magically successful images. Insofar as it is correct to see the photographic image as the focus of her artistic interest, we may also observe that the artist causes texts, painted panels, slides, films and drawings to interact with one another in spatial installations in order to question the essence of photography. Perhaps, this being the case, we should regard photography as the starting point of a concept, whose impact unfolds completely only in interplay with other media.Every work of art is a gathering optical system that imposes on us inner images, which we may command via perception or imagination. Lise Chevalier proves us that life is a matter of perspective in the truest sense of the word; the position of the camera is an existential attitude»

Excerpts of the text written by Dietmar Kohler, art theorician - german version «Prozess, Dokument, Imagination. Das Fotografische im Werk von Lise Chevalier»

«Heute, im Zeitalter der Fotografie nach der Fotografie, ist der Glaube an eine Evidenz des fotografischen Bildes endgültig einem Zweifel an der Natur der Realität selbst gewichen. In diesem Zweifel mag eine Tendenz der jüngsten Generation von KünstlerInnen begründet liegen, gerade an der indexikalischen Fähigkeit der ana-logen Fotografie festzuhalten – das heißt, an ihrem Vermögen, zeigen zu können, dass etwas Reales „so gewesen ist“, gleichzeitig aber auch mit der Ambiguität der Bedeutung des Festgehaltenen zu spielen und fiktive und nar-rative Räume zu eröffnen. Diese Interpretation des Fotografischen als fragile Spannung zwischen Dokument und Imagination, zwischen historisch-kulturellem Bewusstsein und persönlicher Teilnahme, bindet Arbeiten von Lise Chevalier in einen globalen, aktuellen Kontext ein. (...) Diese Vorgehensweise, einen Prozess in Gang zu setzen und in der Folge zu begleiten, zieht sich wie ein roter Faden durch das Werk von Chevalier und definiert nicht nur die von ihr geschaffenen Situationen, sondern auch die Beziehung, die sie selbst zu ihren eigenen Arbeiten unterhält. So können sich ihre Bilder mit der Zeit gewisser-maßen mit Bezügen anreichern. (...) Es ist diese Positionierung des Menschen im Verhältnis zu den Dingen und zur Welt, die bestimmendes Thema im Werk von Chevalier ist. Diese wird von ihr nicht nur bildlich formuliert, sondern veranschaulicht auch, wie Chevalier sich selbst zu den Dingen und der Welt in Beziehung setzt – wie eine „Fotografin“, die Prozesse dokumentiert, die sie initiiert und die auf diese Weise sich selbst und den Betrachtern einen Raum der Imagina-tion eröffnet.»

Works presentation; texts written by the artist

érosion (Ersosion), Il faudra trois saisons (Three seasons will be needed), Monument anonyme (Anonymous monument), Les vingt et une nuits (The twenty-one nights) are long projects I have been working on since 2010.Out of these presentations, books and installations emerge into a variable dimension and space mixing writing and image.

CerCles Confondus (Crossing CirCles) /érosion (Erosion) /2015-2016/Erosion is a work inspired by a stay in a house isolated in the mountains. Made of twenty-four phrases written during the immersion into this lanscape, this project is built up with drawings and shots linked to the phrases. I elaborate this work into a total telluric connection.

Il faudra trois saisons (Three seasons will be needed) /2011-2014/ is a work inspired by a ballad in the Baltic Sea. A narration is starting in front of the chalk cliffs and the beech forest cherished by the german roman-tics. This round-trip between landscape and narration approaches the «feeling-landscape» couple François Cheng speaks about in his last meditation to beauty : «Human feeling can be spread into a landscape and a landscape is endowed with feeling.» called the «quing-joing» in China. The memory of this lanscape has been filling my creations for three years, the three seasons the title evokes. From the Baltic to the Mediterranean Sea, the work takes form through texts, drawings and photographs the alternation and correspondances of which tend us to make visible the synchronisation of landscape and ima-ginative world. I present installations outcoming from this project along with the book Il faudra trois saisons, published by the méridianes Editions.

Monument anonyme (Anonymous monument) /2010/ is on the contrary presented under the form of an emergency, a matter of life and death, the mystery that actually surrounds the work. As a book-box or as an installation, the textual narration, altogether with fragments of images, tries to build back a unity, and tries to speak about this state of «amazing coincidence between space and work».

In the project Les vingt et une nuits (The twenty-one nights) /2010-2012/, I archive dreams in short texts form. In parallel, I take picture of installed objects which evoke a daydream. From bed to window, the right point between being wide-awake and sleepy spreads along a diagonal that becomes a convergence line in the images and gives a feeling of being floating, in suspension. The installation is put up in an architectonic space playing on the transparences and the heights of the exhibition space in which the spectator is moving around. The texts organized around a colourful harmony and the black and white pictures become the supports of correspon-dances between mental and material images.

Selfportait, slide projection on stool, 2016

Paesina, installation : installation, slide projection on stone

érosion, 2015-2016

I Looking after an empty house.

V I feel the immensity of the iron sea rising up in dark strides.

III From the window, the binoculars split in two before proud Spica.

IV The sheets are green, intertwined with ferns.

II The limestone rocks evokes an arctic sea.

VI The river flows sensuously under my feet and I feel the lava, which, long ago, ran down the volcanic stones.

VII Calcarea Carbonica.

VIII The schist rocks wait patiently to the crackling of the burning calendar leaves.

IX The call of the stones long-engraved in the names of rivers.

X Arnica Montana.

XI The possession of green words.

XII Multiple coordinates.

XIII The clouds drift by and the wind beats against the temples of the house.

XIV An abstract axis dissolves toward the mountains.

XV The chestnut trees spread out in a circle.

XVI It’s raining outside and in.

XVII Arranging objects in keeping with an ancient language.

XVIII Inability to distinguish what is perceived from the world implicitly created.

XIX Belladonna.

XX The salicornia’s crown.

XXI Each stone has sat on your lap before me.

XXIII When I see you, I picture a white lily.

XXIV And the blue of the sea laced with white crosses.

XXII The moon has never been as close to the earth.

Imagine it like a lost house in the high Cévennes (mountains in south of France), surrounded by the wilderness.She writes 24 short sentences, 24 haïkus as she calls them. From that day, she will bring back only one stone.

« Deep down in the I Ngan valley stones rise up and some of their forms recall the overhanging rocks of the mountains. Local people slightly straighten them and put them at the entrance of temples. They are naturally remarkable, extraordinary.»Roger Caillois Stones, Chapter I Mythology «stones from China», 1966

Erosion is a ballad. The stone stand side by side with the texts; the installations and drawings interpenetrate them-selves around the 24 poetic sentences imagined in the landscape immersion.

Installation views of the exhibition CercCles Confondus, Chapitre I, Erosion (Crossing CirCles, Chapter I, Erosion)Gallery Spirale, Sète, 2016

Text written for the exhibition CerCles Confondus, 2016

Stones into clouds

What we see is a pool of fragments, symbols and messages, a precipitate, or an elixir of readings, discoveries or real or surreal visions. In the beginning there is that profound hallucinating loneliness in an austere house that faces the huge landscape, near forests and unspoiled stones. Twenty-four hours, twenty-four short phrases or names of things that flow through the very heart of the hourglass of eternal sensations. To receive and to perceive these impressions, you need to be in gaseous phase, after having shed your solid form. In their respective times Goethe or Hugo played with this transportation within a moral register of sublimation by asking themselves the question: what happens to a being that has crossed over from its solid state to a gaseous one? Lise is everywhere. She feels the lava that once flowed, hears the patience of shale, observes the circles of chestnut trees or speaks lost languages. Only a calm solitude can sometimes create this sublimate perception. Lise uses what she finds and brings back during those 24 hours where the solid phase becomes a gaseous one. The words of Roger Caillois, among others, tell of the unfathomable depth of things. Dear Caillois, wrote Marguerite Yourcenar, I will think of you when I try to listen to stones. Perhaps also in the background, between the lines, we can make out the ancestral dismay of the feeling of love, but perhaps not. What matters are lines, words, colours, images, stone abysses of landscape, and even more the form of Psyche’s shouts or The Young Fate who says “I saw me seeing myself, sinuous, and/ From gaze to gaze gilded my innermost forests.”

As in a chemical sublimation that fills up a recipient Lise Chevalier gives us three combined circles, in the centre of each are hybrid fragments that relate with and to each other. And so, through our very own travels they connect to each other, a little like those nomadic seeds that develop their own mysterious strategies of movement. And, we, as visitors, are used by them so they can find their solid state of being.

Philippe Saulle, director of the Ecole des Beaux Arts of Sète

Lapis Lazuli, colour photograph, analog print mounted on wood, 45/50 cm

échelle, (Ladder) ink on paper mounted on wood, 300/23cm

Silex (Flint), black and white photograph analog print, 30/13cm

Hutte (Hut), black and white photographanalog print,100/63cm

Lorsqu’une pierre manque du toit, le rêveur entre dans l’espace courbe,When a stone is missing from the roof, the dreamers enters the curved spacesilkscreen print, ink on paper, 50/50cm

Lame (blade), black and white photograph, analog print, 40/30cm Silex (Flint), black and white photograph, analog print,30/13cm

Mer arctique, (Artic Sea) black and white photograph, analog print, 50/50cmPlanète (Planet), acrylic on wood, 21cm

Les Cardinaux (The Cardinal), table and objects

Il faudra trois saisonsLise Chevalier

m é r i d i a n e s

book cover Il faudra trois saisons, published by the méridianes Editions

Il faudra trois saisons 2011-2014

Il faudra trois saisons, I’m guarded by the beauty of our weapons 2013 (Three seasons will be needed, I’m guarded by the beauty of our weapons) 2013photograph, music stand, drawing, silkscreen printIl faudra trois saisons, Barques (Three seasons will be needed, Barques) 2014photograph and showcaseIl faudra trois saisons (Three seasons will be needed) 2014installation : photograph and text on music stand, audiobook published by the méridianes Editions text, photography, drawing

«Le oniric landscape is an abounding material » Gaston Bachelard, Water and dreams

Initially in a book form mingling photography and text, this project focuses on the encounter between landscape and narration : a landscape seen, experienced, imagined, fictive. It’s about a trip into real and imagina-tive world, where image and writing are intimately linked : the pictures of the landscape (views from the Baltic Sea and the South of France - Cévennes, Sète, the Garrigue (bushland) and the narration texts are echoing in the depths of an abyss of senses and enigmas. The narration emerges in the loss of the suitcase of «she» and the dialogue between «she» and «he», interspersed with poetic passages ; it tells about the story of a person who stands into limits of reality and travelling into fantastic sceneries.

Il faudra trois saisons, I’m guarded by the beauty of our weapons, 2013

Work exhibited in the international cultural centre Künstlerhaus Bethanien in Berlin, 2013Exhibition «Berlin Status 2»

drawing, text -silkscreen print (excerpts of the dialogue between «she» and «he») on music stand, two photographs, analog print mounted on dibond, 70/110cm

He - Where were you all that time?(silence)

She - I packed my suitcase in the street.(long silence)I fell asleep. I was sunk into this November ballad.I was picking up two bird wings and the phone was ringing.I heard the noises of the helicopters that were coming to take us away.

He - Tell me about this place.

She - No, I won’t.

He - Why?

She - Danger, staring into the abyss. I’ve never been able to explain it to you, it’s too hard to see trees fall down.

He - What about me?

She - You, I had invited you to follow me, you had a right to stay in those landscapes. On the first night, we were walking down the marble stairs from the top of the cliffs towards the sea. Behind the waterfall, I was living in the cave with that famous cauldron that we had seen together in the Arab World Institute. Before, you were in the kingdom of the shouting men, one thousand black stallions, one thousand black-eyed men.

He - Tell me about my past.

She - You had ended up in front of the glory that was waiting for you over there. On a Charles Mingus tune, you had never felt so much alone, you were only speaking about your Icarus testament. You were running along a desert, you were staying in your ruins like a lonely owl in a Persian miniature. I was patient. Wind.

He - ...You make me feel as if I had never been born...

She - Over there, you made your choice, you were about to discover new valleys, the ones people get into riding a butterfly.(long silence)I had the weapons to fight your arrival. I was the leaves you were walking on, the tree branch leaning to let you build your hammock, the orchids you were going to gather pollen from, all the perfume that would welcome your coming. I was running in that forest as if I had always known it. You would follow me to look for the great Simorgh. (long silence)

He - When I was a child, one evening I happened to see a golden eagle.... (silence)I don’t know why, but when I am with you, I speak about my childhood.

She - When I am with you, I think of the sea, I think of the forest, I think of chalk cliffs, of volcanic stones. I think of this state of emergency that you make me feel. We would have to forget all the walking between the house and the nocturnal sea, between the maternal garden and the child’s room. (long silence)You were already crossing my landscapes before I met you. At that time I was dreaming of the midnight sun in Finnish Lapland, dreaming to be alone in Isola Bella, on the Lake Maggiore. The amphibians, the amphibians, the amphibians... The beautiful flowers of Alaska. In the distance, huge icebergs where I could get my bed back, in an igloo.

He - Did I come in?

She - I don’t know. You were only allowed to three attempts to get down from the mountains. You were tracking me down when I was a huntress. Then, rows of peacocks were spreading their tails on the edge of the cliffs, with the Doors playing Light My Fire. The kingdom was on fire. All the trees were burning. I was forbidden to document the fire. Chimeras, Chimeras

He -Would you like to go on ?(ten minutes of silence)

She - I don’t know anything anymore.(ten days of silence)The black tide, I was under water. The phoenix doesn’t exist any more. I am turning round and round with the chimeras in the drowning. You are not there. I don’t want to see anybody. I am guarded by the beauty of our weapons. The kingdom has collapsed. I am asked to leave our world, that’s all.

Dialogue between «she» and «he»Book and audio.

Il faudra trois saisons, Barques (Three seasons will be needed, Barques) 2014

During an exhibition over love, Lise Chevalier explores the synchronization of the landscape and the imagina-tive world linked to desir, through an archive of drawings, notebooks and texts between 2010 and 2014 along with a potograph.The work is made for this show in the «Chapelle du Quartier Haut» (the High Quarter Chapel) in Sète, a space which inspires the artist with a feeling of in situ installation.

Photograph, 200/140cm Showcase : Archeology 2010-2014 / Excerpts : Emergency - Prémices d’une ère télépathique (first signs of a telepathic era)- Kreidefelsen / mer baltique - The blue book- Métamorphose (Metamorphosis) / Danse extatique (Extatic danse) / Extase (Ecstasy) wood, glass, drawing, notebook, text, mosaic

Showcase / details

She - When I am with you, I think of the sea, I think of the forest, I think of chalk cliffs, of volcanic stones. I think of this state of emergency that you make me feel. We would have to forget all the walking between the house and the nocturnal sea, between the maternal garden and the child’s room. long silence

For this work, the stake is to create a presentation from a previous work in a book form, and the device becomes an installation in which the spectator takes part into the work and the narration. The process invites to take a walk through music stands on which are set black and white photographs and silk screen prints of texts on metal, altogether with large photographs of the shots made in the Baltic Sea. A recording of the dialogue between the two characters, «she» and «he» goes along with the other works and creates a round trinp between the mental images and the images of the exhibition. This «invitation au voyage» evokes the balad of the book narration, the music stands refer to the trees of the photographies forest and the whole gives birth to a dreamlike space. The tensions between image and text contribute to plunge this story into a suspended time in order to make it fragmented, with lots of correspondances.

Il faudra trois saisons, installation, 2014(Three seasons will be needed, installation)Work exhibited in the show Les décennies pourpres ( the purple decades) in the Chapelle du Quartier Haut(the High Quarter Chapel) in Sète, 2014

two colour photograph, inkjet on paper 240/170cmfive black and white photographs, analog print mounted on aluminium, 44/33cmthree silk screen prints 44/33cmseven metalic music stands

Open Doors, Studio, Sète

Monument anonyme (Anonymous monument) 2010

Installation : box, wood table, 12 coulour photographs / analog print, 16 texts on paper written with writting-machine, 22/44cmThis work is presented inside a box the spectator is invited to handle. He reads the texts and looks at the images moving the leaves from one part of the box to the other one. Once the story is read, he closes back the box so that the story can be read on both sides. The presentation on table can be done along with photographs hanging into the space around the table.12 colour photograpahs : analog print, 40/40ccm

meisterschüler (master - show) exhibition at the University of the Arts, Berlin 2010

Text from Joana Desplat-Roger «Anonymes monument» (Anonymous monument) - german version

Exhbition Walk the lineGalerie AL/MA, Montpellier, Frankreich

Anonymes Monument

Lise Chevalier lädt ein einer Linie zu folgen, die Unerzählbares erzählt, die dem Evenement* folgt.Das Evenement ist gemäss seiner allgemeinen Bedeutung zeitlos (intempestiv) Es tritt plötzlich auf und verändert sein Umfeld und bringt die Zeit-Raum-Empfindung zum Erliegen : das Evenement findet an einem nicht zu erwartenen Ort statt, und bricht die Linearität der vergehenden Zeit, um einen neuen Verlauf zu erfinden. Also verändert das Evenement das ein Bruch herbeifürt unsere Wahrnehmung der Welt und erscheint uns unerklärlich. Das künstleriche Evenement des “anonymes Monument” dokumentiert nicht nur einen überraschenden Zufall zwischen dem Raum den das Werk ennimmt und dem Unfall, so wie er sich zutragen würde, sondern schafft das des Evenement. Es beginnt mit einem auslösenden Moment : durch ihre Präsenz verwandelt die Künst-lerin einen Ort in einem definierten Raum. Der Hanschuh nimmt die Stellung eines Artefact ein, welches den Anfang der Arbeit symbolisiert. Ab diesem Moment stellt sich die Frage was diesen Raum passieren wird. Eine Erwatungshaltung erwacht. Die Linie des Textes folgt diese Erwatung. Sie verköpert die grafische Erscheinung eines Tagebuchs, welches jedoch ohne Intimität ist. Die Linie versucht möglichs genau zu beschreiben wie Das Evenement passiert. Sehr schnell ist der Handschuh von den Bildern verschwunden : die Künstlerin wird Betrachterin des von ihr selbst Geschaffen ; das Evenement hat sich jeglicher Kontrolle entzogen. Die Fotografie nimmt auf was bleibt, aber der Zweifel ist geschaffen. (reflection)

Das Evenement entflieht sich selbst, es verändert den Ort seines Urprungs und wehrt sich vollkommen in der MomentHaftigkeit der Fotografie festgeschrieben zu werden ; Man muss es Rekonstruieren. Das Monument rekonstruieren, aber besonders eine Linie rekomponieren. In dieser Neuerschaffung des Monument muss es dem, was ihm entgeht, Rechnung tragen : die Schwere der Transfiguration eines Ort in einen durch das Werk limitierten Raum, in dem weder das Werk noch der Ort unabhängig voneinander existieren können. Die Fotografien erscheinen wie Versuche des einzufangen, was sich nicht vollständig festlegen lässt : Uberreste einer verloren Spur des Evenement. In der Erwatung des Ablaufs des Evenement, durch Moment der Ruhe und der Reflexion der Künstelerin gebrochen, zeigt sich der subverse Zeitablauf des Evenement. So erscheint uns das Evenement das von “anonymes Monument” verfolgt wird in der Notwendigkeit seiner Realität. Man hat das Gefül das etwas passiert ist, nur das dieses Etwas sich auf keine Aktualität bezieht, sondern auf die eigentlichen Geste seiner Schaffung.(*das Evenement : das Ereignis) Joana Desplat-Roger, Philosopher

Details Anonymes Monument

I, II, III, IV, V, VI, VII, VIII, IX, X, XI, XII, XIII, XIV, XV, XVI, XVII, XVIII, XIX, XX, XXI.

Les vingt et une nuits (Die einundzwanzig Nächte - The tweety-one nights) 2010-2012 Das projekt besteht aus drei Akten (Kapitel I, Kapite II, Kapitel III) und setzt sich mit dem Verhält-nis von Geträulten und realem Raum ausienander. Den Ausgangpunkt hierfür bildet die Unterscheidung von “Traum” (rêve) und “Traumerei” (rêverie), wie sie Gaston Bachelard vorgenommen hat. In letzerem ist entgegen des subjektiven Nachttraums auch die poetische Einbildungskraft (Imagination) enthalten. Meine Untersuching des Traums, des Imaginären, des Zustands zwischen Schlaf und Bewusstsein widmet sich somit nicht lediglich unbewussten Prozessen, sondern auch einem unverfälschten Moment von Kreativität und Poesie. Das erste Kapitel fand seinen Ort im Rahmen der Meisterschüler-Ausstellung an der UdK im Februar 2010. Die Installation setzte sich aus dem träumerischen Raum (espace onirique) während der Nacht und seiner methodi-schen Bearbeitung mittels Schreiben und Fotografie während des Tages auseinander. So ergab sich die Kombination von vier Traumtexten auf bemalten Metalltafeln und drei Schwarzweißfotografien. Diese sieben Ele-mente einer körperlichen und mentalen Reise bildeten die Fragmente einer nächtlichen Szene. Durch ihre gezielte Anordnung und Ausrichtung im Raum eröffneten sie Beziehungen untereinander und zu den Betrachtern. Die reinen Pigmentfarben der Traumtexte (Ultramarin, Purpur, Neapelgelb und Permanentrot) beein-flussten die visuelle Wahrnehmung und Imagination der Betrachter. So wie bei den meisten meiner bisherigen Projekte war der gewählte Ort der Installation bestimmend für die Einbettung des künstlerischen Mediums.

Die Bewegung der Betrachter in diesem architektonischen Raum we-chselte zwischen der Lektüre der Texte, die hoch angebracht waren und den im Raum aufgehängten Bildern. Eine der Fotografien spiegelte in ihrer metallischen Rückseite den Ort und nahm ihn und die Betrachter in sich auf.

three photographs, analog print mounted on dibond, 120/100cm four slikscreen prints on metal painted with acrylic, 200/40cm

Amer

Es gibt einen Berg.Auf dem Berg wachsen Zypressen.Plötzilch bemerke ich, dass ein von dem Bäumen schwebt, ohne sich zu bewegen,Drei Meter Hoch vom Boden.Da ist ein Mann. Ich frage ihn “Wieso fliegt die Zypresse hier?” Der Mann antwortet“Diese Art von Bäumen ist sehr selten. Davon gibt es nur drei in der ganze Welt. Wir nennen sie Van Gogh”

Open Doors, Sète

five texts, silk scrren print on metal painted with acylic, 250/160cmtwo photographs, analog print mounted on dibond, 120/80cm, 100/120cm

Performance Dreamwalking XXIV IIThe night of the 25th to the 26th of June 2010 from 09.30 pm until 09.30 amXII hours, XII sleep cyscles, XII wake cyclesperformed during 48 Studen Neukölln Festival in Berlin and Nacht und Nebel Festival in Berlin

Video, 15 minConcept and performance in collaboration with the choreographer Mirjam Gurtner

One room, one night. For the duration of a sleeping cycle we undertake a quest of dancing and visual arts for the place where dream and reality meet. Falling asleep. Waking up.During the 24 hours of a day two artists explore the back and forth between dream and actuality, searching for the emergence of one in the other. A private laboratory during the day, this room becomes a public place during the 12 hours of night. This time is divided into the familiar sleep phases. Following their rhythm moments of sleep, waking up and action become connected, codetermined by the audience.

Les vingt et une nuits Chapitre II (The twenty-one nights Chapter II ) - Dreamwalking XXIV II

DREAMWALKING XXIV II, Performance

A theory stated that eyes are looking at the dreams-cape, this is why the eyes are moving.

The point where the van-ishing points meet.

If the bed was circular.

During the sleep cycle the eyes are moving rapidly.

Les vingt et une nuits (Die einundzwanzig Nächte, The tweety-one nights) Chapter III - Acedia 2012

Dieser Teil des Projektes befasst sich mit der Figur des Traümers. Wie der Titel Acedia es verspricht, die Fotografie wird nach der Art einer melancholischen Szene gebildet. Mit der Wiederholung von allegorischen Elementen und die Beziehung zwischen der Figur im innern des Raumes (die junge Frau, die Fügel, das Fenster) und die Phantasien des Fensters, stellen Bezüge zum Bild Melancholia von Albrecht Dürer (1514) und Lucas Cra-nach (1532) her. Der Zuschauer gibt sich der Träumereien hin, wie die dargestellte Figur im Bild. Diese Darstel-lungsweise und ihre Wirkung die man aus der Romantik kennt, wie zum Besipiel in dem Gemälde von Caspar Friedrich der Mönch am Meer (1808-1810), kreist um die Thematik des Betrachters in den verschiedenen Ebenen der gedanklichen Projektion. Das Bild ist ein Fenster und das Fenster ist nur was hinter dem Fenster ist. photograph and miror, analog print mounted on dibond and miror, hanging, 130/90cm

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