Echoing steps taken by her illustrious predecessors from De Stijl, such as Mondrian and Van der Leck, she looks at the horizon as a point of orientation and abstraction. She interprets physical
limits of vision as one of the origins of abstract art. The space stretching forth before the lens is an existential void constructed out of subtle gradients of colour and a minimalist play of lines. But
this is just a theoretical framework. In reality these pieces remain analogue photographs of small, refined collages.