Arrows, footprints, signs—they promise orientation as elements of functional semiotics; they are coded markers in public space. Over the course of the series, these intentionally placed signs are counteracted by chance occurrences such as organic residues or plants. In this way, the work shifts from a legible system of signs toward an open, unstable structure that eludes any unambiguous interpretation.
In this sense, the series can be understood as an investigation of the difference between sign and trace: while the sign refers to a meaning, the trace remains bound to an event without fully articulating it. Here, photography does not dissolve this difference, but rather makes it visible and unfolds a “syntax of the random.” The path the series traces is less a spatial movement than one leading to insight: from sign to trace, from certainty to uncertainty. The series does not tell a linear story, but rather creates an experience: orientation is offered and simultaneously undermined.