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In the two-channel video installation, Caught in the act (2006) it's predecessor, Catch-As-Catch-Can (2005) is shown together with a second projection, which is presented at a 90-degree angle to the former work. The second projection shows the reverse shot: the background as seen from the revolving platform. This interconnection of perspectives still further enhances the tactile effect rendered by this borderline sense of equilibrium in an acute manner.

Catch-As-Catch-Can/Caught in the Act is a video-installation, which - like most of Catrysse’s works - is immediately reminiscent of a particular cinematic vocabulary. In fact, as a video artist, Catrysse is more indebted to cinema than to the iconography of the visual arts. It is in cinema that he finds an aesthetic with a physical impact that is pre-symbolic and pre-aesthetic, and which can address the origins, the primordial history of an aesthetic that has emanated from the encounter as such. This primordial history is perhaps found in its purest form in the genre of science fiction. Only seemingly paradoxical, it is the fantasies pertaining to the future where the origins of fantasy reveal themselves. Catrysse liberates the essence of these genres of popular fantasy, adopting their particular economies and intensifying them (the latter, a technique familiar from the vocabulary of video art). He isolates singular moments in order to shift their allocation from the phenomenological to the ontological, where no longer merely a specific experience is at stake, but the order of being itself. And, in this, suddenly the primordial history of these moments reveals itself.

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