“Nocturno” is a phantasmagoric example, what separates art from real life. It’s an utterly personal image, telling every onlooker another story, even better though, other stories. I am so sure about that, because I myself see only fragments, parts of the image that have a personal, contextual meaning for me, going by as if mounted on a merry-go-round, without giving any real clue what to think about them, no final thoughts at all. Nothing could make me happier, because it proves that this image is anything but an “illustration” or “visualization” of individual feelings. If the visual, as in this case, has a narrative structure, then it should be an enigma having an indefinite number of solutions and that’s how this image works for me. In technical terms it is really a digital image, combining manual drawing done with the PC, software generated color gradients and manipulated photography, all embedded in a truly handwritten text done with the PC of course. Despite the fact that this text was partially meaningful, it is nothing but a visual structure concerning this image (you can only read the hints that one should not be trying to read, because it is useless, since everything meaningful can not be deciphered), it is what bonds the elements, neither just background nor swallowing them. When at first all those figures stood before a purely black background, they conveyed an impressive look, but a whole “dimension” seemed to be lacking, a fact I felt was a problem for which I had for quite some time no solution at hand. It happened when I saw by chance my image “Waldschriftstück”, which also employs handwriting as a visual structure that I got the idea to try this again, and it looked great, because the white script flooded the image producing a visual effect as strong as the one when all the figures were standing before the pure black, but now kind of “swallowing” them, taking away a part of their necessary tension. In order to counter this, I covered the white script with a touch of digital aquarelle colors, lessening the white and having it fade progressively to the bottom until the script seems to be totally gone. That way I got the perfect visual dramaturgy for my taste, and every time I see it, another—a “new” image.