"...photographs are usually experienced in static lighting conditions, either as back-lit features or as reflective paper. These glass walls would be constantly changing in character and expression as the external light cha nged. Therefore the images are kept pale and light, animated by even the weakest external light, as well as by artificial light sources. The film holds the light in quite unexpected ways, so that, as you walk along the wall, some white sections can appear as anything from shining white, to grey, to almost black. The pale green of the grass images takes on an intense chlorophyll hue in low evening sunlight.
..... Espen Tollefsen used the silicone joints between the glass panels to add time and movement as elements. Rather than using large landscape pictures, each panel is separate image, some being repeats of the same subject from slightly different angel, or the same view of water at a different time of day when the currents and wind move the waves at a different angel."
From the book "Colours of Architecture - coloured glass in contemporary buildings" by Andrew Moor . This is Andrews third book about contemporary glass art. This book also includes a presentation of Espen Tollefsens commission "Seascapes" at Höegh LNG headquarter, Oslo.