Art historian Roland Held describes Ursula Zepter's current exhibition:
"Two millennia of Western philosophy saw in light the symbol of the divine, and most recently, secularized, that of the Enlightenment. Comparably edifying things can hardly be expected from Ursula Zepter's new "light pictures". The urban world that the artist creates with graphite and acrylic paints appears depopulated, desecrated, the human being a shadow at best, trying to escape the wobbly dance of unleashed things by moving sideways. Even in the contemporary-cool home interior, he leaves the furniture trimmed by the expressive style underneath him as a precaution. In the digital collages, does the camera's contribution cause dizzying swaying? Do at least the cited historical landmarks of the roamed cities provide a homely glimmer? But every "glimmer" fades in the drama of the "light images". What was photographic objectivity is swallowed up in the storm ignited by the pen. Ursula Zepter becomes a diagnostician of discomfort in technical civilization with an eye that is not at all wistful."