"We have to try and get back to the turning point, the point of reversibility, the dialectic motor of all contrasts. This is the moment when what we see starts to be affected by what is seeing us – a moment that imposes neither a glut of sensations (praising belief) nor the cynical absence of sense (praising tautology). This is the moment when an empty space opens up, am empty space caused by the realisation that what we are seeing is also watching us."
I n this fast-moving age in which we are increasingly relying on pictures to get our bearings and communicate with one another it is a rare experience to be confronted with pictures that do not want to be perceived as signals and information carriers but as essential units and in which moments of participation and interaction develop as a dialogue in a space between, in which contrasts merge without cancelling each other out. Claudia Betzin's pictures are undoubtedly in this category, pictures in which the dialogical moment is decisive for not only the reception of the pictures but equally for their genesis and constitution.