The photographs themselves become in turn components of staged, site-specific installations, which she generally develops for exhibitions in direct response to the respective architectural situation. Both in the photographs and in the installations, different levels of illumination create a state of suspension between representationalism and abstraction, between two and three-dimensionality, between stasis and movement.
In her examination of urban structures, Astrid Busch also allows us to “see through”—which we can take almost literally—how the self-sufficiency of closed buildings is increasingly called into question by the immateriality of today’s communication technologies. The field of tension between the atmospheric and the architectural, mood-enhancing indeterminacy and the compositionally solidly built, is a leitmotif of Astrid Busch’s multi-layered art, which also thinks photography further in an original way.