Although the German artist Christiane Baumgartner works primarily in the traditional medium of woodcut printing, she contemporizes it by sourcing subjects from video stills. Baumgartner was trained in printing at an early age at the Hochschule für Grafik und Buchkunst in Leipzig, but primarily worked in video while pursuing a Master's Degree at the Royal College of Art in London. After her time at school, Baumgartner explained, "my impulse was to go back to the analogue, but via the detour of the digital image."[1] Lisbon I (2001) is culled from video footage taken by Baumgartner of vehicles traveling along a highway. Crafted by hand and requiring hours to complete, the traditional technique of the woodcut contradicts the fast-paced technology of video. Of the image from Lisbon, Baumgartner noted "thousands of people go in one direction and at the same time thousands of people are going in the other direction."[2] The resulting image suggests a scene of surveillance, a theme which recalls the artist's upbringing in the DDR and the presence of state police. However, the work's format, which requires the visitor to move both towards and away from the image to see both the craft and the composition clearly, raises broader questions about how today's proliferation of images is diffused and altered through various intermediaries.