The multi-part work "self-dimensions, stage I-XII" is an expansive site-specific installation. At eye level, centrally deformed mirror metals hang on chained ribbed metal modules. The rectangular high-gloss metal sheets are deformed concave and convex, respectively. The different bumps reflect kaleidoscopically in all directions. When walking through the installation, light and space are thus distorted, triggering the impulse of the viewers to interact. The portrait format invites or seduces the viewer to play with his or her own reflection. The abstract image refraction deforms their own mirror image effectively. The works allude to the complexity of the self, as well as the omnipresent image culture of the selfie. The recipient becomes the image and immerses him- or herself in the various levels of space and self-perception. The reflections are not sensed as deficient but as infinitely expanding. — Julia Freiboth

"hybridization, variation I" is a reflective floor sculpture with sharp, irregular edges. The flame-like form hovers at ankle height above the floor. Multiple layers of mirror metal reveal an abstract interior drawing with curved lines, spills and hooks. The work's title comes from biological language and means a crossing or mixing of previously separate things. The starting point of the object is a piece of tree bark, which was first apprehended with sketches, then digitally traced, following a dystopic idea: Can plants protect themselves from human access by means of protective armor or weapons? The work "hybridization, variation I" arose from the examination of the concept of the Anthropocene - a new geochronological epoch, in which humans have become one of the most important influencing factors on the biological, geological and atmospheric processes on earth. — Julia Freiboth