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Peter Demetz plays with the spatial imagination of the viewer. He assigns his figures a fixed architectural space, which, however, remains completely open and undefined. Through the strict reduction of these stage-like spaces, all attention is focused on the figures. The architectural surfaces are more of a projection surface for the viewer, whose imagination is left to assign a concrete story or possible action to the figures in these spaces. Lighting and architectural stage make the relief figures, which are only a few millimeters thin, appear three-dimensional and give them liveliness. Adam Budak very appropriately calls them “small theaters of human affairs and private worlds.”