Bruno V. Roels defined his photographic universe as the triangle between serious German conceptual photography (like the Bechers), sardonic American conceptual photography (like John Baldessari) and poetic Japanese photography (like Masao Yamamoto).
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In the beginning he emphasized the reproducibly and serial character through almost exclusively grid compositions of multiple, small size prints of a single image. Each time these prints are modified through analogue photographic techniques and often toned to create an image lost in time resulting in unique prints and artworks. Later on, and more frequently, pieces of single, double or triple larger sized prints are included in his work. They enable him to intervene in a more dominant way in the subject matter and to break out of the typical formats that come with the traditional analogue developing process. These works are often enhanced by applying mixed media, especially black Indian ink, on top of these prints to alter them, to subtract them or to add surreal constructions.