Working with transparent glass is like working with something which is not really there – an almost invisible solid –
however it is a potentially dangerous material - it can burn or cut you. Consequently glass becomes a strong symbolic
metaphor for the invisible dangers, the hidden threats in our lives.
I choose to work predominately with glass, in its many forms; as a transparent material it supports my effort to reflect
on the unseen, and unknown aspects of my/our present memory.

A word can be an ambiguous thing, it can have a whole universe of meanings and can often be used in apposing
situations. The most beautiful words have been abused most often in connection with political, economical
or historical events.

Some works, reminiscent of gloves or praying mills, transform the material from being the usually expected
'fragile glass', this coupled with the texts that are on the individual elements creates a contradictory situation where
the viewer feels able to play with things which because of their fragility are usually untouchable. While wearing or
turning the glass elements one can read a word, or a sentence, or a never ending poem. The seemingly chaotic
collection lettertypes and texts, turns out to be a complex story always inviting re-interpretations.

1986 (2007) relates to my experience with the accident in the Chernobyl Nuclear Power Plant in 1986. When this
most significant and wide ranging technological catastrophe in history of humankind took place in the small
Ukrainian town, I was 11 years old, living in Salzburg, Austria.
The installation consists of a flexible stainless steel frame with 195 white glass elements, which have individual texts and
can be turned. The sandblasted texts on each element relate to that memory of 1986, the contradictory information
provided and to my perception of the present state of science.The visual subtleness of the light texts
on white glass relates to the invisibility of radioactivity.

The Spectacle (2006) For the central space of a dutch Fort I made a hanging spiral of 16 engraved glass objects
which became transparent carriers of information. The images reflect on female experiences with medical treatment
throughout history. Through slight movement of the objects the viewer is confronted with changing perceptions of
these portraits. The installation was almost perpetually in motion and became a symbol for failed communication, the
viewers could attach their own experience and could continue to weave their own.