The preparatory watercolours are like fragmented views of potential paintings. For Huber, this exercise serves as a laboratory for experimenting with colour, spatial structures and decorative schemes. He creates imaginary spaces that are seen in perspective from different angles. As the artist explains it, “The classic idea is to compare the painting to a window. I prefer the idea of a door that allows one to go in”. Numerous openings admit an intense white light into the rooms. The spare architecture with its classic vocabulary is uniquely underscored by red and black frames that function like mediators between the space and its painted representation. These frames stress the depth of the spatial construction and demonstrate the evocative power of painting.
Huber frequently reproduces other images in his pictures, notably from his own earlier works, playing on the repetition of a painting within a painting. Here, for the first time, he features black-and-white landscapes on the walls. These mountain views exist as paintings and murals, but with their smooth brushwork and absence of relief, it seems as if they were being drawn into the wall.