The idea of the installation was inspired by the Baroque layout of the city of Karlsruhe, which is based on the perspectival construction of streets arranged in a radiating pattern towards the castle or the sun. This was one of the most popular urban planning approaches in the 18th century. Art from this era was also feverishly searching for new means of expression. One of the discoveries and most famous techniques of the Baroque period was the use of perspectival constructions with two points of convergence. This is what made it possible to give dynamics and depth to two-dimensional painting space. Compared to the well-known one-vanishing-point perspective, which had prevailed in the Renaissance, two vanishing points opened up new possibilities for creating and depicting cityscapes with strong dramaturgical expression.

Using two laser projectors facing each other and a series of narrow black dividing screens placed between them, the installation Fluchtpunkte unfolds as an abstract representation of this transformative journey. The interplay between ephemeral colored light surfaces and outlines creates a compelling visual narrative inspired by baroque two-point perspective studies, encouraging viewers to embrace the idea of constant change and to question the supposed supratemporality of their own perspective.

The installation's light scenario features two vanishing points using two laser projectors and perspective beams directed at each other. At their intersection, the illusion of a three-dimensional object is created, which we recognize as such only thanks to how we perceive perspective.