As Haypeter points out, he did not create a "painting" at the Maschinenhalle Zweckel. The plastic surface, several centimeters thick, is at once a mirror and a window. The surrounding space is reflected in the surface. It is possible to scrutinize the brilliant color of the tile floor through the transparent material, as if we had donned a pair of glasses to see it more clearly. The material’s adjustment to a given location, its entering into a dialogue with a given form of architecture, as well as the installation’s being usable as an "archaeological field" are, to date, unique features in the work of Werner Haypeter in terms of their plasticity charged with contents. Haypeter’s work for the floor, multilayered in every respect, opens up new insights and vistas, offering transparency and triggering reflection. Using the simplest of means, the significance of a former industrial site is questioned before the backdrop of the high-tech present.

[Text: Katja Blomberg: Werner Haypeter in: »Here we go. Skulpturenprojekt Gladbeck in der Maschinenhalle Zweckel«. Exhibition Catalogue. Städtische Galerie Gladbeck, 2000, p. 22]