The artist stands in space with two 8mm cameras mounted, one back, one front. When she bends forward, the camera documents the ground, the other one the sky, when she twists sideways, both cameras document opposite side views, when she bends backwards . . . and so on. Both projection surfaces, which have to overlap can be covered by geometric signs such as circle, square, oblong, intersecting line. These geometric signs become visible in certain shots of the environment and of their projection. It is an expansion of the room that goes beyond urban architecture and extends into nature. Obstacles and disturbances are encountered—she crawls through pipes, pits; she jumps, hits obstacles head-on, lies on the ground.

At the same time, these events are filmed with a 16mm camera. Not only is something shown, but the process of showing is shown. A sense of space is conveyed, as only film can convey it: simultaneously, one is seen in the center from the back and from the front, from below and from the outside. Not only are the surroundings explored by means of film, but the exploration of the surroundings by means of the body are shown (a feat possible with film and not with literature). In this way, the surroundings appear as a body, as an extension of the body, as an environmental body. Film combines opposite parts of the space, and creates the spatial continuum of the body not otherwise perceived.

—Text: VALIE EXPORT