"It seemed like a manual for confessing the Trinitarian nature of God", said one of the pastors about Mikael Thejll’s temporary new altarpiece for David’s Church in the Østerbro district of Copenhagen. And you understand what he means because, with minimal means, Thejll had created an altar wall of two large monochrome screens in red and blue, respectively; and, between them, he placed a bright yellow stripe. The effect was not minimal – for some, it was quite intense. The tripartite painting covered most of the chancel’s back wall, and Thejll also included the chancel floor and altar by encasing them in veneer sheets. In addition, he added new white lighting as a replacement for the usual yellowish lighting: altogether, these means made the artwork establish its own space in a dialogue with that of the church and the rituals. The painting’s own light, the yellow stripe in the middle, cuts through like a light corridor through the back wall, the altar’s middle part and the church’s centre aisle. The sensual and symbolic effect was paradoxically evoked by the minimalist simplicity of the visual expression. The evangelic light emerged clearly and effectively from the painting’s columns of light. But the light corridor was also a space "between here and there – between nothing and everything", as the title says. A space in which presence and absence played tag, and there were more questions than answers. UN