Images, even those, which we have of other people and cultures, depend on our point of view. They change if we move in reality or in our mind, and remain the same if we stand still, unless the images themselves are in motion. To speak about a point of view means to speak about perspective. Human existence is tied to perspective, which might have led to the occidental tradition of images. In form of anamorphoses, perspectivism also implies the fragmentation of images as well as of inner visions. In my work, the medium of projection is used as a formal counterpart of this phenomenon. The issue of the point of view becomes particularly relevant whenever a light projection meets spatial reality. But do not our thoughts resemble light projections in this respect?

Considering those thoughts, I have projected in 1993 onto the buddist temple Gyokozouin and the trees before it a tracing of Michelangelo's ceiling fresco The Creation of the Sun, Moon and the Planets (also called The Creation of the World). It has been an attempt to understand the foreign culture, which I had been facing there with my own images. During my trip to Japan at the time I have thought especially of Michelangelo mainly because of two reasons: On the one hand a big Japanese broadcast company had just financed the restoration of the Sistine Chapel in Rome and on the other hand in this moment I could not think of more significant images for my own culture - the European culture, than those of these frescos.

Whenever people meet my light projections in public sites, they often do so more or less coincidentally. At first, they are usually confronted with a jumble of light-lines in which they might later recognize a distorted detail of the whole projected slide. As these lines do not make any sense at first sight, the viewer might feel worried and curious at the same time. But people are usually fascinated by light, especially if it appears unexpectedly. As curiousity might be the strongest feeling and they take a closer look at the powerful light source. If the viewer does so and then turns around in order to follow the trace of light, he or she will identify what the slide depicts.

From the perspective of the projector the figure was easily recognizable (see: photo left below/ camera location No. 2). The blurriness of the projected image in the foreground causes the image of light to begin only a few meters from the projector and stretch approximately fifty meters deep. The further away the viewer stands from the projector's location, the more the apparition of light disintegrates into fragments that more or less correlate with each other (see: photo left above/ camera position No. 1).

Technical data: Stage projector, slide.