The ornamentation is experienced as a harmonic whole, but is in reality a visual collage composed of several independent elements: a 14m long and 4,5m high glass partition clad in laminated foil. 16 Flower Cuts made of sandblasting foil applied on the warehouse’s large, almost quadratic windows as well as on 4 monumentally large and shiny toilet doors spray-painted in light blue, green, orange and pink.

The glass wall divides the warehouse’s ground floor and functions as a transparent partition. Light can shine through the mat surface, but the visibility is so low that the viewer only has a diffuse idea of what is happening on the other side. This dreamlike scenario is further enhanced by the acid green digitalised photos of oak leaves printed on foil and mounted on 9 of the wall’s 12 glass walls. The pattern moves energetically and loosely on the glass surfaces, but is abruptly interrupted in two places by solid colored lanes of blue and green.

Various counterpoints come together in the glass partition: it is transparent without being see-through – organic, but stringent – ethereal and extremely palpable – divided in 12 lanes and yet a complete whole unit. The result is a vibrantly beautiful paradox – a dramatic release of energy resting in complete balance.

The 16 Flower Cuts in the warehouse’s windows are reminiscent of huge frost flowers. An installation that also contains its own contradiction. On the one hand the foil is a locked impenetrable form that partially blocks the beautiful view. On the other hand the frost flowers allow for the flickering shadow play of the light. Throughout the day a multitude of patterns are formed on the floors and walls and the shiny surfaces are interrupted again and again by new surprising double exposures.