The common feature of the installations is always the indispensable symbiosis between the selected space and the resulting site-specific works. As many details and characteristics of the location as possible are taken into account, while at the same time incorporating photographic design aspects. Many installations are developed exclusively for a single, precisely predetermined viewing point. As with an anamorphosis, these installations therefore look completely different from other viewing points. Materials and objects such as fabrics, mirrors, spheres and figures are predominantly used. Almost always, after the initial implementation of a previously planned or spontaneous concept, a multitude of possibilities for variations and further developments arise. Only rarely do the installations remain exposed to external influences for longer periods of time. As a rule, they are dismantled after photographic documentation, leaving no traces behind.
Photographs are traditionally regarded as evidence, but they only appear to document the truth. Contrary to general expectations, the photographs in the installations document existing worlds, but above all they create new ones. These photographs show, but they do not explain anything. The camera as a machine that records dreams and projects them again. The camera no longer just takes pictures, it gives them.
The installations with objects and figures in their respective environments and site-specific contexts often pose riddles. Secrets and contexts are feigned. What counts is the appeal of the inexplicable, the mystery, the dismantled reality, without predetermined solutions. In a subsequent artistic process, the resulting installation photographs are sometimes supplemented, e.g. by drawing, writing, etching (Instaforadie), painting, with the montage of two- or three-dimensional objects then becoming collage or assemblage (Instafoblage). In each case, further levels of image and reality are added. In the case of image and text, these can each provide very different information in terms of form and content. They can complement or contradict each other. Text and photography then form two poles, through whose interplay in the mind of the recipient the actual story emerges. In this sense, some image titles do not describe what is depicted, but add further contradictions, puzzles and possible sources of inspiration. Additional levels of reality are sometimes developed through the compilation of multi-part images.
The recipient's imagination is therefore always required and necessary in order to allow all stimuli to converge into an inner image. One's own experience and imagination are decisive for understanding and, in particular, for the effect.
