When taking a walk around Regensburg’s inner city you might come across some windows that have at some point been walled up as a result of changes in building and zoning laws.In an attempt to preserve the optical harmony of the building, the window frames have been left in place, allowing these so­called 'blind windows' to remain a part of the facade, even though they no longer serve their original purpose: Neither air nor light can reach the inside, bricks and concrete obstruct the view to the world outside. The windows have become useless elements on the houses’ exterior surfaces.

For a long time, I have been fascinated by the emptiness in the windows, because they have turned into a projection screen for pictures I envisioned – the open space began to fill with thoughts, daydreams, colors, questions… Whom or what could you see if the window was opened up? What does the house look like on the inside, what was it built for? Who are the people and what are their stories that have become part of the house? And what atmosphere could be created, if the window did actually frame a picture?

By contemplating imaginary situations, opinions, stories, colors and shapes I have been able to recreate the visualizations of my mind's eye. The goal was not to paint illusionist works that create moments of deception in the viewer. Nor should the blank window be mere presentation space for my work. The blind window and its specific surroundings are not subordinate to the artwork, but rather serve as the first breath of inspiration in the artistic process. On the one hand, the window turns into a frame for a picture. On the other hand – as architectural features and the location’s atmospheric peculiarities influence the finding of the subject matter as well as the composition – the window becomes integral part of the artistic creation.

The exhibition was conceived as a tour of the Ostenviertel (Eastern District). Feel free to use the map and set out in search of the blind windows that have been filled, let your eyes wander and discover new perspectives on the city that may have been kept hitherto hidden. To us, such aimless sauntering and contemplating appears to be in stark contrast with the hustle and bustle of everday life, as busy people go about their business without even taking note of their immediate surroundings; such meditative wandering seems more reminiscent of the Romantic Era. In introducing my outdoor gallery, I would like to encourage the reception of art outside established institutions, which can change views of both art and one’s own city. The fenêtres imaginéeshave neither informative nor merely decorative function – they are supposed to speak to the viewers in the context of the area surrounding them and possibly encourage them to continue thinking, dreaming, and inventing.