In Margriet Luyten's photo series "Ella", "Stervelingen" and "Insomnia", which are in several respects intimate, it is particularly the way in which the subjects are framed that confronts us, as observer, both literally and figuratively with what Schopenhauer called 'the other side of the mountain'. The gum bichromate technique adds one more important dimension. The fact is that Luyten does not artificially resist the passing of time. In both technical and thematic terms, she subtly interweaves the permanently fleeting. In Margriet Luyten's ingeniously conceived photos, which deliberately incorporate an already long existing tradition into her contemporary work, we actually look twice into the eyes of the mysterious and irrevocable death.