The visual and acoustic events in his installations quite frequently occur in distinctly parallel configurations which, however, function in complementary fashion. They simultaneously structure space and time, and yet they remain related to specific senses, so they can support each other. Walls bathed in colour or towers at the water's edge, fluorescent tubes that outline bridges or overpasses encourage the eye to wander; but from a distance they merge into a picture in space. If one approaches, although an intervening distance always exists, one hears the sounds coming from loudspeakers that are also built in. The sounds are »abstract«; what is important is their stream, because this plays out the temporal dynamic of the now nearer observing eye. Nevertheless the visual spatial arrangement lends such temporal occurrences a formal framework. The sense of hearing stimulates the observing motion of the wandering eye, the sense of seeing indicates the spatial direction of the movement being heard.

Hans Peter Kuhn's installations, placed with perfect clarity at their respective sites and attaining new dimensions in coloured light and moving sound, sometimes seem to be dreamily hovering. Their technical perfection arouses admiration. These aesthetic exteriors certainly can stand on their own for unmediated experience. But a difficult-to-describe perceptual disjunction also arises: it seems as if static light is set in motion by moving sounds and the observer's standpoint, too, plays a role, as if the impression relies not only upon automatic perceptual mechanisms, but also upon the actions of the viewer him/herself.