While focussing on the ways images work in transitory spaces (where they are mostly presented as something subsidiary, collateral) and how their mode of operation is unthinkable without the position, movement, and transitions of the „viewer”, the passerby, I became especially interested in how the motives and the perception of the motives change over time and get a certain (subjective) charge.
The work-group Double Framings started as a documentary process, capturing the small-sized posters (that in most cases promote cultural events, social campaigns, books, etc.) alongside poster-vitrines of subway stations of Berlin.
The displays of the Hermannplatz station caught my particular attention because of their rather strange, layered design: these showcases combine two frames nested into each other: a glass vitrine or a standard grey poster display centered in a wooden framing unit, that is normally applied for billboard-advertisement.
Using the motive of these strange displays of the Hermannplatz station serving as a reappearing base or framing device, the vitrines, poster constellations, and objects were reconstructed as semi-fictional conglomerates.
