The installation Querfeldein (1998‒99) motifs are all landscapes, but not in a traditional, representational sense. There are no image compositions, but rather all-over structures, and no classical rendering techniques ‒ such as perspective, shadowing and modulation, etc. ‒ were used. They are fragments, blurred snippets of memory, like subjective snapshots taken with a camera.

The selection is non-hierarchical, and a picturesque thunderstorm in the sky is as much present as mud or undergrowth. The motifs are truly unspectacular for the most part, and in this sense, they are realistic.

They correspond to the actual, still unselected reality experience and not to a composition of “beautiful images” based on aesthetic criteria.
Not just the selection, but even the dimensions of the images are democratic to a certain extent. Everything is the same size and equally important, whether it is a cloud or a blade of grass. No static image is shown. Instead, the dynamics of being en route and looking around are evoked by the succession of various aspects of landscapes.

An open whole emerges from the sum of the parts. Unlike the classic panel picture, there is no fixed vantage point for the viewer. The variety of the individual images, and the parameters defined by the entire space they occupy, motivates the viewer to move while looking at them. (1998)