The archaic strength of the impressions, the enormity of the landscape dimension makes it difficult to process these impulses artistically without falling into well-trodden paths or paths discredited by a popular conception. Heinz Cibulka brought his artistic approach with him to the mountains. The multiple breaks in his working method, which is characterized by photographs for the photographic archive, a selection based on memory and a reformulation of the pictorial statement as groups of four individual photographs, offer an ideal reception grid for depicting the monumentality of the landscape and the often still encountered unity of life forms. For of course this appearance is deceptive – there are no longer any intact enclaves in our world. A photographic work that wants to make statements about the mountains as a habitat must integrate both elements.
Heinz Cibulka’s photo plates are polyvalent – they can be received in different ways without doing interpretative violence to them. This distinguishes them from photo reportage, which usually attempts to make a clear statement from the photographer’s point of view.
from: Kurt Kaindl, FOTOHOF Info, issue 2/1984