Looking out, from the corridor to the window, to the viewing post, looking out again, standing in front of the window, always being on the look-out, a visual and tangible form, usually not regarded as a barrier, one that serves as a shelter for the outside world and marks itself as “View on the World”, becomes a barrier here. The window, a spot for looking out, looking out again and again.
Looking out onto, overlooking, this performance, articulated by waiting, by thinking about accumulating movements in time, but incorporating reflections on non-visible events, does not so much ferment trouble, but makes clear that life cannot be lived without the other. Being on the lookout, peering to the right, away from green leaves being blown on by the wind, away from parked cars in the forefront of picture and cars flashing by in the street, away from the occasional passerby; this draws the picture of the outside world and the speed of life on the other side of the window, a common scene from daily life.
The recurring acts on 'our' side are being characterised by just the repetition; distinction in production is not important. The number of steps to the window followed the undisturbed looking out constitute the distinction; a serene appearance shows inner turmoil. This turmoil, which does not depend on outward differences, is made visible by 'motion in rest' and indicates primarily a longing for, and a feeling of responsibility. The window, the barrier between the exterior and the interior, which mainly embodies the view outside, now acts as a figure of speech for anxiousness and responsibility.
Courtesy of the artist