The construction of aesthetic form and shape and their perspective abstraction are in the foreground:
As an illusionistic object, Drifting II opens to us an area-like space. It is the frame and background for images that refer to human habitation. On the other hand, the representations always constitutively elude those contexts of meaning that they provoke. The individual elements constitute themselves as such in a potentially endless referential event in an internally structured dynamic which is the work of art.