In Michael Endlicher's „Fotoschriftschnitte" both, the landscape motives and the canvas, refer to the artistic medium of painting which is reduced ad absurdum by the form of linguistic signs. The arrangement of the individual signs by means of the technique of sewing adds an artisanal level to the work and augments the whole with a sensation of fragility. However, the apparent fragility of the photographic type faces is opposed by the black string holding together the individual elements inseparably.
On the level of perception Endlicher’s photographic type faces are particularly challenging for the receptive abilities of the observer by initially refusing any possibility of interpretation: in the first moment of perception, the visual motive cannot be grasped as a whole nor can the individual letters be read in form of a text.