With the appearance of these tiny locations, the surrounding space is detached. To some they remain unnoticed, conquered by the windows above or below them. The projections of by-passers are onto the windows, the signs and the pavements; the focus is on other people; awaiting signs of life in order to understand themselves and make choices in relation to people and social behaviour. Upon passing by spaces, framing takes places and visual objects are created through aesthetic sense. The relationship between art, a human idea, and object, is manifested through effortless creation of city sculptures. It takes a single look to notice an eligible object, it is suddenly there, happiness arises and a sculpture has been created. The camera shuts out any reference or surrounding disturbances and enables everyone to experience the sculptures as they could have been seen in their natural space. These material signs of visual paradise exist for different, often practical, purposes and their value as art was not predetermined. The mind is stripped from influences of city life and humanity; there is nothing but the raw cityscape in which the sculptures appear like bricks. The only believed value may be in the cityscape as a whole from which beauty can seem hard to derive due to an abundance of the same. In this case, context is the mirror that reflects back on you, giving you an image of yourself. To experience the aesthetics of city sculptures is to take out of context, to see a window rather than mirror.
