Patricia Lincke’s photographic works of her forays into German living spaces are devoid of people, but yet give detailed evidence of their presence.
The view of and into the windows of German cities and suburbs is not limited to the surface, but seeks to discover the atmosphere beyond by focusing
on details. The decorated windows are a representation of the people living within; they testify the image of the self that is presented to the outside world and reveal a striving for individuality. The assembled images, however, document a conform society. The presented artificial accumulation of views through windows leaves the viewer with a strangely uncomfortable feeling, as he realises that he, too, may be an object of observation.

Alongside a marked love of geometry the curtain is the most important feature of these views into people’s living spaces, a feature which seems to be timeless. It mutates to dreary bars, captures a dubious contemplativeness, inspires speculation and craftily veils the portrait of our society. It forms a barrier between the inhabitants and the viewer, conceals, prevents intrusion, but is paradoxically also meant as an eye-catcher.
The life-size prints not only “mirror” an imaginary idyll, but confuse the viewer, as the window panes not only permit a view inside, but also reflect the buildings on the other side of the street, thus giving the viewer the impression that he is somewhere in the middle.

The digitally reworked photographs are a reference to the present time (Jörg Sasse), as well as to art history. The documentary photographer Eugène Atget, roaming through Paris in the early 20th century, achieved a similar effect as Patricia Lincke in her Insights. His approach as a flaneur as well as his use of reflected surroundings in void shop windows and displays show certain parallels.
The water-colour effect, which is created digitally, spans a bridge to the old masters and underlines their favoured artistic motifs and bourgeois styles.
The view into the German every-day culture of present day “treasures” as a form of self-depiction is not without poetry and reminds us of the significance of 17th century Dutch still-life painting. The objects depicted in these paintings where chosen to reflect the fame and standing of the patron.