worked over in a way so that the reflection of the environment is reduced to a minimum, if not even wholly eliminated from the pictures. Even in outside photographs the surfaces of the cars look as if they have been shot in a photo studio. It can be presumed that the advertised product is supposed to be in the forground and environment should not distract. That just the car industry focuses out the environment in its advertising poses questions. Insofar is it intentional by the car industry to focus out the environment factor in connection with vehicles? What is not there (because of it being focused out) cannot be damaged, right?

Just this surpressed reflection of the environment is what the artist gives back to us here. In an figurative sense she does this by extracting the reflections out of the vehicles and transfers them onto the mirror foil. In the exhibition rooms you see mirror foils on the walls and on the windows. Those foils correspond with the forms of reflections which are to be found for example on chromium-plated bumper bars or headlights. You can see yourself in those distortedly mirrored. Also the road with its passing cars, pedestrians and buildings across is reflected in the foil in the window. The missing, the focused-out seems to be integrated again in the whole. And so also the ambition of the artist becomes clear when we come back to the word CROMOLOGIE. CROMOLOGIE is an interdiscipline science.