In his solo exhibition, Mylayne is presenting works which, through changing lines of vision onto nature, give rise to various levels for perceiving time. In a series of photographs, Mylayne focuses intensively on the reconstruction of observation as a temporal movement. In these pictures, he often does not present the birds at the center, but as tiny figures within the landscape. They are cut off by the frame, appear blurred, or have already flown away from the pictorial segment. Mylayne often sets the horizon of the landscape very low, so that the sky becomes the dominant background. He repeats a view leading from the ground to a high altitude, just like the flying motion of the birds. In the photographs No. 268, No. 269, and No. 270, all of which were created between February and March 2004, he shows three successively altered views of the same tree. In the photographs, there are respective modifications in the perspectives of a bird sitting on a branch, in the exposure to light, and in the color of the sky, until the tree in the foreground of No. 270 is no longer in focus, and only diffuse shadows indicate the presence of the bird. The pictures acquire the quality of stills which, as individual images, evoke a filmic succession or an ongoing pictorial sequence. In a subtle fashion, as in No. 284, Février - Mars 2004, Mylayne ushers such traces and equipment of human beings into recognizability in the background as a fence, a wood saw, or a windwheel. The indication of human presence sets a dynamic oscillation between presence and absence in motion, which is repeated in the constantly changing positions of the animals. As in a puzzle picture, the viewer is required to reconstruct Mylayne's scenes and can recognize the birds with a groping, gliding gaze only after a certain time.

In addition to photographs which concentrate on the temporal progression of observation, Mylayne also creates contrasting works such as No. 443, Avril -Mai 2007 in which the birds are at the center of the pictorial segment. He shows them in close-ups as single figures recorded in front of a landscape which has become an abstract background. The animals often turn their backs to the viewer and thereby extend his own view onto nature. In these photographs, Mylayne activates an introspective view of the world and requires a self-reflective standpoint from the observer. The abstraction of the forms of nature plays an important role here and is achieved through special lenses which he himself constructs and inserts into the large-format camera. With them, he can calibrate the impression of the depth of the landscape according to his needs, and can focus on selected points and elements of the pictorial background with varying degrees of sharpness. Just as a painter composes his picture, so does Mylayne utilize blurriness, colors, and relationships of light in his photographs so as to introduce into the technical medium of photography an aspect of personal handwriting and subjective decision. In an experimental manner, he disrupts reality with abstract forms and lines of light and shadow which he finds preexisting in nature, and he depicts them as visual processes which further influence the temporal expression of his mise-en-scènes.

An approach to abstraction and to the stylistic means of painting is likewise apparent in Mylayne's use of the diptych and triptych, the original format of the meditative image. The multiparty structure allows Mylayne to intensify the duration of contemplation and the variable perspectives within his pictures. In the oldest work of the exhibition, No. 105, Septembre - Décembre 1991, he transferred a photograph into an eight-part, mirrored montage. This work represents a fundamental philosophical idea of Mylayne: The perception of time renders human beings capable of drawing, something which distinguishes them from all other creatures on Earth. By means of drawing - as an abstraction of the experience of time - human beings can remember the past and anticipate the future. Thus the structure of No. 105 adheres to a previously established concept in which the pictorial segments and the mirrorings of vegetation and birds are brought into precise correspondence with each other. Like a graphic structure, Mylayne's work stores time and unites past, present, and future simultaneously in the picture. Like a Rorschach test, the vegetation evolves into abstract ornamentation, and the delicate bird remains the sole point of orientation for the viewer's point of view. Mylayne's pictures are characterized by a contemplative impact which, in the complex mirroring of No. 105, gives rise to an internalized perception of nature. Through intimate, meditative dialogues with the living environment of birds, Mylayne constantly attains a visual realization of time in his pictures and constantly raises universal questions concerning existence and its transience.