During a one-year work scholarship in London (2005–06), I revisited the cartographic townscapes of the 1980s, expanding them into a more process-based drawing practice. Over many months, I created a large-scale drawing of Mile End Park, beginning by measuring the entire site with my footsteps and translating these movements into a drawn scale. On site, I recorded my observations directly onto portable fragments of the plan—each one preserving the immediacy of place and perception. Back in the studio, I transferred these fragments onto the large drawing that already contained the footstep scale and site plan. As countless pedestrian perspectives merged into a single view, the park's landscape transformed into a floating monad—bound only by fine lines to its measured origin. This working method became the foundation for an ongoing series of site-specific drawings that I continued in Berlin. Each project consists of individual study sheets and a large-format composition that brings together all collected information into one simultaneous field of observation.

The Enclosure Works belong to a broader group of projection-based pieces and evolved from my earlier Dome Works. Each piece begins with an acrylic glass enclosure placed in an architectural or landscape setting. Sitting inside this transparent structure, I draw directly onto the glass with a felt-tip pen, tracing the surroundings in real time. The drawing is then engraved into the Plexiglas, preserving that act of observation as a physical surface. Unlike 19th-century panoramas that immerse the viewer within the scene, these works reverse the perspective: the viewer now looks from outside into a contained, miniature world. Each enclosure refers 1:1 to its place of origin—a tangible space from which the gaze extends into the intangible.

For the Dome Works, I sit beneath a transparent acrylic dome held at the height of my gaze. From within, I paint directly onto the inner surface, recording the surrounding world as it unfolds in a 360° rotation over several weeks. Unlike earlier Window Paintings, these works maintain a spatial coherence that aligns with perceptual conventions. Seen from the outside, I gradually disappear behind a painted inner view turned outward—a process that transforms subjective perception into an objective form. The domes aim to objectify perception itself. Unlike panoramas that draw the viewer inside, the dome's closed structure turns away, creating a distance that invites reflection on seeing and being seen.

The Projection Works continue my exploration of perception and spatial experience. While the Dome Works capture the surrounding world in its entirety, these pieces focus on the totality of the visual field itself. For Field of Vision / Valley, I mounted acrylic glass panels onto a football goal and repeatedly fixed my gaze through the glass toward a single point in the landscape. Over several weeks, I traced the visible field with a brush, including the indistinct edges that reveal only vague impressions of the world beyond. In Field of Vision Study, I examined how seeing affects the perceived size of my own head. Facing a wall, I outlined the visible field, including my nose, at varying distances. As the distance increased, so did the scale of the projected head—culminating in a self-image over a meter tall. The experiment suggests that an unobstructed gaze into the horizon can lead to a vast, expanded sense of self.

During my art studies in the 1980s, I began exploring how lived experiences of time and space could be transferred into a two-dimensional image. These early Site Drawings raised questions that continue to shape my work today. My approach involves combining different viewpoints within one place and acknowledging that a site exists continuously, independent of my perception. This awareness informs both the visual order of the image and the viewer's position in relation to it. The works often resemble maps: I gather information on site—such as at Frankfurt Central Station—where personal impressions and poetic moments blend. These observations are brought together in a single, layered plan, where I reinterpret them through drawing. The surface becomes a space of assertion, allowing the undefined rest of the world to unfold between the depicted place and the image's edge.