An abstract pattern adorns the stone. Images are only vaguely recognizable, shadows of trees. These are ephemeral façade images that Mira Klug would prefer to remove directly from the walls of buildings, layer by layer, like an archaeologist. She tries to preserve these everyday images in an attempt to recognize their immanent transience.
The photographs of the cobblestones show the fleeting gesture of nature. They come from the Per-Albin-Hansson-Siedlung, the first major housing project of the City of Vienna after the Second World War. Sweden provided machines for the construction of the which produced new bricks from the rubble of the destroyed houses. In contrast to many municipal buildings, there are hardly any mosaics or reliefs on the façades, but the estate is adorned with extensive green spaces. Klug recognizes the ornamental quality of the shadows of the trees on the walls and photographs the interplay between nature and architecture. She uses photo emulsion to apply the images to the surface of stones. A vanitas motif subtly appears between the stone and picture plane: the transient shadow created by the sun; the invisible shadow of history, present in everyday life but difficult to perceive.
