The Transition works are a series in which the artist has inverted amplifiers and speakers by emptying out their inside components and re-inserted the parts as visual components onto cotton and linen canvases. The wires puncture in and out of the canvas to create a visual composition. Connected to power, each canvas retains their functional role with a set sound and volume level. 

The Transition works are made of  speakers akin to concrete-constructivist works yet that reveal their own amplifying character from the slight droning and the graphic arrangement of cables, buttons, and levers. Microphones are united in a sculptural formation, like a pack; their cables resemble a drawing scrawled across the ground, writing itself onto the architecture. Everything is con- nected, and it seems to be waiting and ready for whoever will activate it—and for whoever walks from room to room attempt- ing to grasp everything that rings, swings, and sounds. 

There were six performers for the exhibition Transitions #4 presented in 2018 at the Kunsthaus Baselland, performers who sometimes plucked the taut strings of the painting-like sound objects, played them with a bow, or touched them with their whole bodies to gen- erate sound. And across it all was a song that first filled the spaces like one long, drawn-out sound, the source of which was hard 

to pinpoint in the space. Surrounded by microphones—almost encased in them—the singer turned and twisted; only fragments of her lyrics were comprehensible. And yet it became evident that this song inscribes itself so deeply in the spatial structure and those present that everything becomes a resonance chamber.