In a project spanning from 2010 into 2012, Lutter has taken analog and digital photographs of the moon from various locations around the world. The resulting body of work functions as a travel diary that contemplates the consistent and ubiquitous presence of this celestial body seen from earth. Interested in lunar patterns, the artist photographed the moon during its different stages – waxing, waning, and even during an eclipse – portraying it as we commonly see – a crescent, a gibbous, a full moon. She captured the moon as it emerges from the night sky, recalling the way in which the artist’s pinhole subjects luminously materialize from the darkness of their surroundings. Although a departure from Lutter’s camera obscura work, this project continues her exploration into the origins of light and its essential role in manifesting vision and time. Together, these images remind us of what we see, what we don’t see, and what we barely see – something obvious yet eternal.
When Lutter began photographing the moon, she hung small photographs of all her images in a grid as an initial viewing context. As the wall grew bigger and bigger over the years, it became a piece in its own right, an atlas of numerous variations of the same thing observed and captured time and again. While the first moon wall began more or less as a sequential, diaristic display, over time, Lutter sought to fracture the chronological arrangement to enhance the formal characteristics of the subsequent works. Not only did this produce an aesthetically pleasing final image but also altered the traditional linearity of time into a study of time as a web, the final effect of which causes in the observant viewer a similar sensation to her camera obscura photographs of loosing one’s balance or fixed point within the world. In this way, Lutter seamlessly connects the traditional and digital techniques that constitute her oeuvre.