The film begins with negative images of the destruction or etching plates. In the following scenes, we see images of construction workers, (dance) performances, and the daily life of Luyken. Along the way we see positive colored images that include a performance by Paul Koek in the Amsterdam theater Felix Meritis.
In the early 1980s, Edward Luyken had his own studio on the Lijnbaansgracht in Amsterdam. He also lived in the studio. In Celvast, diary images from that period are combined with shots of performances.
Against the background of a white wall, Luyken films two performances. The images are interspersed with one another: a man and a woman are painted with white paint, while another couple is wrapped in paper and coloured with paint. The second part of the film also consists of a performance. This time, Luyken works with life-sized, cartoon-like fantasy figures. Eventually they are numbered and wrapped in white paper.
This film is composed of ten films, some of which originally intended for display on three screens at once; the first was Berlino-Milan-Lisboa ; a film about Berlin in the middle of Milan right and left of Lisbon; with three audio tracks, front, and two each coming from a back corner. The other three-screen films had different lengths, one called Autobiography , with pictures of the creator and his parents, and another called Pieds rouges . The film also includes footage recorded in Bath, England, where Luyken once had a studio.
