‘”By the most subtle of degrees a landscape is enshrouded in a white haze, at first delicate, shimmering, translucent, but finally opaque, engulfing, overwhelming. This uncannily familiar landscape, so palpably solid with its stony outcrops, slowly yields and dissolves, capitulating to this inexorable deletion. Then the process reverses, and time is affirmed as cyclical, not linear, as the land reappears, only to dissolve again in a kind of visual entropy. This landscape, moreover, reminds us of others, perhaps those painted by Caspar David Friedrich or other Romantics. Their melancholic contemplation of the vastness of nature and the isolation of man within space and time is echoed here, perhaps, as the waxing and waning of this digital fog invokes that category of experience termed the Sublime. The visual economy and discretion of Heike Baranowsky’s video piece ensures that her work retains its compelling subtlety as we adjust to its infinitely slow oscillation of opposites, of materiality and immateriality, of presence and absence, yearning and fulfilment.” Paul Kilsby April 1997’

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‘”By the most subtle of degrees a landscape is enshrouded in a white haze, at first delicate, shimmering, translucent, but finally opaque, engulfing, overwhelming. This uncannily familiar landscape, so palpably solid with its stony outcrops, slowly yields and dissolves, capitulating to this inexorable deletion. Then the process reverses, and time is affirmed as cyclical, not linear, as the land reappears, only to dissolve again in a kind of visual entropy. This landscape, moreover, reminds us of others, perhaps those painted by Caspar David Friedrich or other Romantics. Their melancholic contemplation of the vastness of nature and the isolation of man within space and time is echoed here, perhaps, as the waxing and waning of this digital fog invokes that category of experience termed the Sublime. The visual economy and discretion of Heike Baranowsky’s video piece ensures that her work retains its compelling subtlety as we adjust to its infinitely slow oscillation of opposites, of materiality and immateriality, of presence and absence, yearning and fulfilment.” Paul Kilsby April 1997’