(...) The aesthetic impact potential of the colour shape is initially produced from the visual standpoint. The almost palpably "haptic quality" and "sensuousness" of the colour chape, the result of the alliance of surface form and colour, undergoes a dicisive disturbance within the open form of reception and is thus opened to new referentialities. What seems like the translation of the relationship of Basic Element and picture surface to a different scale constitutes for the spectator an "instrument of spontaneous visual communication". Freed from the system of closed spaces bearing the label "art", this opening is not without a retroactive effect on what is shown. (...) In a detail, concentration on the colour shape placed at the centre entails no attempt at interpretative intervention. Thus, the photograph reinforces the character of an open model situation in which the sign, in contrast to the foreshortening of the space-defining lines in perspective, must assert relative autonomy. (...)

Joachim Heusinger von Waldeck
Karlsruhe, 1998