The exhibition EOS 100 (Amden) inquired into the photographic perception of landscape without taking any photographs. A sculpture of a camera was set up on a tripod in an open field opposite the Kerenzerberg and left in place for many weeks. This was Elizabeth Wright’s second project after her installation Hochhaus (2003), which provided an insight into the contradictory dimensions of architecture and landscape.
Wright made a cast of a Canon EOS 100, which in the 1990s was popular among artists — including herself — as a means of keeping a record of their work in the studio. Although 3D digital technology ensures perfect reproduction nowadays, Wright chose to make a mechanical cast of the camera with traditional positive and negative moulds. She worked on a wax model of the camera in order to make the lens function as a space-exploring organ. She then made another cast, this time in plaster, and painted the surface of the sculpture to imitate the original so that the cast would look as genuine as possible. The plaster also filled the empty space inside the camera that is ordinarily required to expose film to light. As a sculpture, therefore, the camera that plays such an important role in recording and promoting images of landscape can no longer do what it is meant to do. It is no longer a piece of equipment, but has itself become an image.
By sculpturally modifying the wax cast of the camera, Wright personalized a piece of equipment and at the same time made a statement about an age-old conflict in the field of sculpture. While she did proceed by casting, which is a mimetic procedure and hence, historically speaking, not an artistic method as such, her subtle manipulation of the wax model transformed the cast, allowing it to be classified as sculpture.