A visual collage in which different elements get combined, squeezed in-between two constants of a metal plate and glass plate. The two latter serve as a symbolistic reminder of a mirror: when attentively crafted, a mirror is composed of these two elements that with the right balance, attempt to give back the image of what stands in front of it, a representation that prides itself of being absolutely truthful.

Mirrors create a simulacrum, a copy of reality that is not reality itself but an imitation. This concept ties into the philosophical ideas of simulacra and simulation, where representations or copies can become more real than the original, leading to a distorted understanding of reality. They allow individuals to see themselves as others do, creating a self-image that can be scrutinized and interpreted. This self-reflection can lead to a deeper understanding of one's identity but also to an obsession with appearance and surface-level realities. They can reveal truths by showing us things we might not otherwise see, but they can also deceive. The mirror image is always a reversal, a fact that can symbolize how truth is often elusive and subject to interpretation.

The formula “looking glass” to refer to a mirror became famous with Lewis Carroll’s book “Through the looking glass”, the sequel of “Alice in wonderland”. The mirror in "Through the Looking-Glass" serves as a gateway to an alternate world. This transition blurs the boundaries between what is real and what is imagined, illustrating how easily perceived reality can shift into illusion. The looking-glass world emphasizes that our perception of reality is mediated by our senses and can be easily manipulated. Just as a mirror reflects a seemingly real but ultimately false image, the events and characters in the looking-glass world reflect Alice’s perceptions and imagination, questioning the reliability of sensory information.

This series of works deals with these topics by creating portraits of internal states, mirrors that don’t work for reflecting physical aspects but only for ideas. These portraits are made through very instinctive compositions of photos, found objects, and all different materials that can be held together in a decomposed mirror.