Photographia puts sharpness and objectivity into question, and thereby clarifies itself from a traditional point of view. In this respect, it refers to the discovery of the subject involved in, and in front of the picture in the epoch of romanticism. At that time, the sensitive and thinking human being had the ability to feel part of the pictured scene and was consequently reflecting, whereas the current artefacts of the series are less romantic re-interpretations than de-construction of medium and context. The freedom of portrayal comes into its own, where photography is losing itself in the medium and reality in appearance. This (opus) is a rejection of the unambiguousness of the world, the obtrusiveness of the objects and their details. It eludes itself from a categorization within the system of art; it is neither photography nor painting. It contains freedom of space [Freiraum], removal of borders [Entgrenzung], and vegetation. It hurts and simultaneously causes relief.