‘What I was so positively interested in, when I saw the photos of the Baroque architecture, pushes me to think that there is a reflection, which is related not only to the gallery space, but which is more historically linked to architecture in general and the perspective falsified by the intervention and in distortion. That’s a very interesting issue for that kind of installation work. What I like about the work is the quality of the light that she plays with in every photograph. This has that very subtle reference to the changing light, or surface, or varnish, that has a coherence with the interest in the Baroque. The work is dealing with “above” and “below”, rather than the “on”.’

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‘What I was so positively interested in, when I saw the photos of the Baroque architecture, pushes me to think that there is a reflection, which is related not only to the gallery space, but which is more historically linked to architecture in general and the perspective falsified by the intervention and in distortion. That’s a very interesting issue for that kind of installation work. What I like about the work is the quality of the light that she plays with in every photograph. This has that very subtle reference to the changing light, or surface, or varnish, that has a coherence with the interest in the Baroque. The work is dealing with “above” and “below”, rather than the “on”.’