This series was created as part of a scientific work on abstract photography in the discourse of the 21st century, exploring the extent to which the creation of abstract photography can be brought about through an artistic process. She was inspired by the interplay of photographic "foreign reference and self-reference". Thus Zwischenwelten pt. 2 is increasingly concerned with the opaque side of photography. According to the semiotician Winfried Nöth, a photographic sign can be both transparent and opaque and always stands between viewer "and the world behind it". A photograph is transparent when it embodies the representation of the world to which it refers, whereby iconicity and indexicality play a considerable role. On the one hand, what is represented is reflected; on the other hand, the photograph refers to its reference object like a trace. The opaque photo, however, "does not allow a view through to a world it represents". This gives rise to "new way[s] of looking at things" that are directed at the photographic sign itself. Thus, traces that plants leave on various surfaces through shadows and light reflections were photographed, creating another level of abstraction —  it is not the plants themselves that serve as the basic motifs, but their traces, which pushes the transparent side of the photograph even further into the background.

Artistic + abstract photography

Text source
"Fotografie zwischen Fremdreferenz und Selbstreferenz" (Winfried Nöth, 2002) in "Rethinking Photography" (Ruth Horak, 2003)