The oversized fake leaves and giant wine glass dominate Urlaub (2004), inviting a surrealist-tinged, free-associative interpretation. Bouquet (2004) is a comically uptight version of a beautiful, excessive still life as well as a memorial to modernist form. The combine plinth of Mutter Mit Kind (2004) creates an almost sacred altar-like space, bringing together religious and minimalist symbols. Geschwister and Untitled (both 2004) juxtapose found objects into, respectively, a recognisable shape and a non-utilitarian re-purposing to provoke questions around given material meaning. Built around traditional notions of narrative and form, these works suggest a crudeness and frailty behind what has been human-made.