The Eidophusikon (Greek: Ειδωφυσικον) was a piece of art, no longer extant, created by 18th century English painter Philip James de Loutherbourg.

It opened in Leicester Square in February 1781. Described by the media of his day as “Moving Pictures, representing Phenomena of Nature”, the Eidophusikon can be considered an early form of movie making. The effect was achieved by mirrors and pulleys.
(Wikipedia)

An entertainment invented by Loutherbourg in which spectacular scenic effects were created on a small-scale stage set. Loutherbourg first exhibited the Eidophusikon in London in 1781 with immediate success (more than 100 paying spectators could be seated in the room in which it was displayed). The stage area in which the spectacle was performed was roughly 2 m
(7 ft) wide, 1 m (3 ft) high, and 3 m (10 ft) deep, and the effects were produced by means of lights, gauzes, coloured glass, and smoke; musical accompaniment was provided by a harpsichord. Among the scenes presented were views of London and other cities, a storm at sea (ships, figures, and the like were moved by a system of rods and pulleys), and ‘Satan arraying his Troops on the Banks of the Fiery Lake, with the Raising of the Palace of Pandemonium; from Milton’. Gainsborough and Reynolds were among the artists who were impressed by the Eidophusikon. Loutherbourg ran it for several seasons, then sold it to an assistant, who took it on a provincial tour.
(Oxford Reference)

With this background, considering nature settings as a kind of scenic stage in the sense of an “Eidophusikon”, I am stalking in European mountain ranges to look for fragments of the big spectacle of landscape. Fragments that are in some kind expressing the transitory stage between complete remote isolation of so called wilderness on one hand and  cultural projection space on the other hand with uncertainty and unstableness regarding human impact  on their apperarance and their determination.
My monitorings of this spectacle do consist of photographies and videocaptures (see video-galleries). The photographies are preferably produced as archival pigment fineart prints on mat Hahnemühle paper, mounted in massiv oak shadow-frames with variable sizes possible up to 140 x 175 cm.