Site-Work (I): The installation “Codex Purpureus” was created on the occasion of an invitation by the University-Museum in Marburg for their branch museum at the local castle of the former landgrave. This work was to prove crucial for the further development of the oeuvre, since the intensive study of the history of the castle led for the first time to the idea of printing without colour – that is to say, it led to using pure acrylic, or gum arabic, respectively. The historical context the installation refers to has come down to us as follows: According to legend, the harlequin Till Eulenspiegel (1300–1350) came to Marburg one day, where he was commissioned by the landgrave of the time to produce genealogical pictures, or rather ancestral portraits, for this very hall. Eulenspiegel and his assistants were pampered and waited upon for months. But, they produced absolutely nothing during all this time. When the day came for the grand opening unveiling ceremony, with the landgrave and dignitaries from the city and countryside in attendance, the audience lavishly praised the quality of the images. It was only when the landgravine’s fool shouted through the room, “why do you all look so foolishly, there is nothing to see” that the prank was exposed and Till Eulenspiegel was forced to flee. The installation “Codex purpureus” is a kind of paraphrase of this legend. When directly facing the colourless prints, they may scarcely be detected, or are not recognizable at all. Only an observation in the area of the incidence of daylight reveals a apparitional iconicity. The printing-blocks were buried in the park. Nearly all visitors wanted their money back for the exhibition, since supposedly there was nothing to see.