Three flat screens are arranged on top of each other (like a big 35mm filmstrip), displaying videos of Mount Fuji, which are filmed in the three possible ways of filming: the moving camera, the static camera, the static camera in a moving vessel.

The upper video shows a lake and Mount Fuji, filmed by holding the camera with the arm stretched out as long as it was physically possible. In the beginning the picture is almost steady but as the minutes pass the picture gets shaky, almost ressembling an earthquake, and the scene ends when the arm is unable to hold the camera any longer and is lowered. Duration: 9 minutes (loop)

The lower screen shows Mount Fuji filmed from a boat on a lake. The camera is mounted on a tripod in the boat which somebody rows towards the mountain. As the boat proceeds over the small lake the view of the camera is determined as well by the water/boat moves as by the instinctive orientation of the backwards moving rower. So partly Mount Fuji gets out of view completely until the rower finds back his way to align the boat with the mountain. The video ends when reaching the shore. Duration: 27 minutes (loop)

The middle screen shows a static camera view of Mount Fuji and a lake that perfectly mirrors the mountain. Nothing happens until a fisherboat crosses the screen distroying the mirrored picture on the lake’s surface. The waves of the lake eventually spread to the surface of the flatscreen, „liquifying“ the actual screen surface into pulsating waves of electrons, so as if the screen surface itself is breathing. Duration: 90 minutes (loop)

The title refers to the series „36 Views of Mount Fuji“ (1829) by Hokusai. Other influences for the work were Cézanne’s various studies of the Montagne Sainte-Victoire and Andy Warhol’s film „Empire“.
The arrangement of the screens (on top of each other) quoting a 35mm filmstrip, and the formal filming in the three possible camera-setups outline the reference to narrative structures as well as to the essence of the moving image. In the title the word „scenic“ contains in its double meaning also the frame for a possible story, but in the videos the „drama“ actually unfolds behind the cameras providing the framework for the act of seeing and perceiving.