The “Moonlight in Auschwitz” picture resulted from the “Auschwitz Trilogy”, that is a previous project with Poland’s extermination camp, Auschwitz, as its main axis.
In the “Auschwitz Trilogy” I had settled on three pictures which concentrate, in my opinion, the essence of the National Socialism ideology up until its final conclusion: Auschwitz.
However, while the historic frame prevails in the previous project of the “Trilogy” – Auschwitz is defined as the largest extermination center in History – in which the lighting and the selection of the colors attempt to capture the horror and death, the aesthetic search prevails in the “Moonlight in Auschwitz” picture.
An aesthetic search from which the historic horizon is absent and which through minimalist chromatic hues seeks to freeze the historic time in an unclear moment of the past.
These minimalist hues have obvious references to the Japanese painting tradition and to Kawase Hasui’s painting frames in particular.