In Ulrike Heydenreich’s most recent drawings, the spatial effect of the smaller landscapes is heightened through the construction of architecturally precise perspective-boxes. It is also here that the drawing becomes an object in space, incorporating its own small, scenic stage, comparable to a stereoscopic image. The panoramic section of the drawing transforms into the window view, while the white spaces of the frame become the perspectively distorted interior. The landscape seems to perpetuate itself within the frame of the frame, a means of representation that has existed since the Baroque illusions of Andrea Pozzo. What remains is the illusion, which does not reveal itself until a second look. The constructed perspectives of the boxes appeal to the eyes of the viewer, whose changing vantage point offers continuous transformation, making a sequence of objects particularly fascinating.
The drawings always consist of mountain landscapes with snowfields. The images are drawn from vintage photo books that were printed during the period of the photogravure. Heydenreich combines selected views with imaginary landscapes. In a collaging process, individual scenes become combined as one image, so that at first glance a real landscape is suggested to the viewer. The horizontal progression of the mountain and landscape segments, however, is altered. This is found in the artificial shadows and the reappearance of single elements in different locations.
With her panorama rings, the artist constructs an infinite landscape. The wandering gaze of the viewer, looking for a familiar place or recognizable landscape information, finds no beginning or end. Ulrike Heydenreich seamlessly assembles these fictional panoramas in slanted circular wooden frames through which they gain an architectural and sculptural character. The round execution is reminiscent of landscape images from the Romantic Era. Caspar David Friedrich created similar landscapes, covering a 180° field of vision. Artists like Karl Friedrich Schinkel also experimented with the idea of the circular panorama. Art competed with reality; photorealistic landscape imagery adapted itself to the unending pictorial space of the radial human perspective.