The artist creates the sculptures using an elaborate process in which she deforms the industrial prefabricated parts of the crash barriers being used under high pressure, erects them vertically, and then assembles them into new figurations before applying colour. The vertical orientation of the crash barriers, in subverting their normal horizontal use, breaks with their usual spatial arrangement and provides the sculptures with an architectural reference. The sequential use of the source material both ties in with the concepts of Minimal art and demonstrates their connection to Marcel Duchamp’s Readymades.

The street objects the artist employs in her sculptures, such as crowd barriers, bollards, bike racks and crash barriers, are typically used to structure public space and regulate the possibilities of movement in it. Yet, often going unnoticed, the artist brings these objects back into focus and perception through her sculptures, thereby raising the question of the societal interplay between control and freedom, so central to civil society.