Kingkong (2000)

In Michaela Grill´s work, the opulence of these images is diametrically opposed to a minimalistic reduction to an element of urban architecture. The disintegration of the initial material (the windowed façade of a building), which resembles a chemical process, produces the colors violet, light blue and white and dissects the urban vocabulary of forms. The dispersion of the big city´s lights carries over to the structure of time and space and ceases to conjure up an external danger. Instead, the viewer is confronted with sound and images which decompose the personal criteria employed in sensory perception.

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