Christoph Weber generates a substantial part of his work from found material. For his Damage series which has meanwhile got as far as #4, he uses photos from the Internet; in the case of Damage #1, 2003, it is a destroyed American country house. Weber makes a tracing of the photo contours, creating an architectural drawing as is usually made before construction, not after demolition of a building. Starting from the drawing, a kind of "reconstruction" is undertaken: the contours are carved into the (gallery) wall; 3 millimeter deep shaded intaglio lines provide the negative for the drawing. The "incision" is a tautological recreation and repetition of the act of destruction. Thus Christoph Weber touches upon the "desert of reality" ("Die Zeit", 39/2001), which, according Slavoj Zizek, is where one arrives after seeing all those "documentary" pictures of disasters in the media which are no longer distinguishable from Hollywood’s disaster films – he draws up destruction as a subject of imagination, a déjà-vu, and, as it were, an anthropological constant.