The artists’ experimental analytical approach to the medium of photography is evident in the series Liquid Sky. In the pictures, he mounts two images in one object, for which he uses different photographic materials. He draws inspiration from a variety of techniques from other artistic disciplines. One of these is the cut-up technique in the literature of William Burroughs, in which the pages of a text are divided apart and then rearranged among themselves. Wittgenstein's idea of a musical movement structure also serves as a reference for him: "in a polyphonic score, not only can several voices sound at the same time, but also different themes and motifs enter into new or old connections with each other, as well as assert simultaneity through contrast and constriction."* Photography is understood here as an extension of the instrumentation of language.
The German band CAN, from whose titles Leciejewski borrows the names of his works, operated in a similar fashion. After endless improvisations, the band cut out parts of the tapes from their recordings. These were sometimes deliberately damaged and manually manipulated to create a specific sound and subsequently edited into a new song. This kind of distortion can also be found in the images. Lint and other " degradations " of the visuals are deliberately not edited out. The middle section, which is inserted between the two parts of the sky like a colour graph or an audio track, is chromatic interference caused by the movement of multi-coloured paper during a long-term exposure (the length of CAN's respective track) on a scanner.
*Cited from Katrin Eggers: „Musik bei Ludwig Wittgenstein: Poyphonie- Vexierbilder- sinvolle Unregelmäßigkeit“, in: Kulturen und Werte. Wittgensteins Kringel-Buch als Initialtext, hrsg. von Joseph Rothhaupt und Wilhelm Vossenkuhl, Berlin: DeGruyter 2013 (Über Wittgenstein 1), S. 381–397, translated from german