Vera Lutter

Interior, Pepsi Cola: July 24-31, 2000

Time remaining



Silver gelatin print
10.0 x 11.2 in (25.4 x 28.6 cm)


This work ships from Chicago, IL, US.


Vera Lutter’s practice considers the role of light as a translator of time and motion. Since 1993, Lutter has transformed entire rooms into pinhole cameras through the process of camera obscura, a method that pre-dates the invention of the camera. Lutter encloses her space—in this case, an abandoned Pepsi Cola bottling plant—so that is completely dark except for a small opening, or pinhole, allowing light to enter. The light naturally refracts to create a projection of what is outside onto the opposite side of the opening. Lutter places light sensitive paper onto the wall where the light is projected, recording the exterior of her spaces and creating unique objects. Depending on the amount of detail included, her images can take days, weeks, or even months to expose, as revealed in the dates in her titles. This print relates to her most famous series of work of a Pepsi Cola sign in Long Island from 1998.

Terms & Conditions

Shipping and handling is an additional charge not included in the winning bid price. To request a quote please email us at

About Vera Lutter

Vera Lutter (German, b. 1960) is a New York-based photographer who received a BFA in sculpture from the Akademie der Bildenden Künste of Munich in 1991, and an MFA from the School of Visual Arts of New York in 1995. Inspired by the energy, architecture, and history of New York, Lutter began investigating the narrative of photography by transforming an entire room of her New York apartment into a camera obscura to capture an unfiltered, long-exposure, black-and-white image of the metropolis on a wall-sized piece of photographic paper. Since that time, Lutter has also transformed a shipping container into a camera obscura that can be transported around the world and used to create large-scale images of architecture, shipyards, airports, and abandoned factories. By focusing on industrial sites that pertain to transportation and fabrication, the artist draws parallels between the beginnings of the industrial revolution in the 19th century and the discovery of photography as a chemical process. Progressing simultaneously, both phenomena are responsible for unfathomable changes in the way we live and trade information. Investigating these parallels, Lutter finds sublime beauty within the destructive power inherent in industrial accomplishment, focusing on the monumental, overbearing appearance and threatening function of mechanized objects and technology.