Lilian Kreutzberger (1984), trained painter, has been experimenting with architectural models for some time. She has two-dimensional patterns laser cut from wooden panels and fills them with plaster to emphasize the rhythm of the positive and negative shapes. This is not a purely formal exploration, but more in particular an attempt to express the ideals and utopian notions that architects and thinkers have tried to realize through architecture. Besides these so-called Wall Reliefs, Lilian Kreutzberger is also literally involved in building herself; a wooden frame runs through the exhibition space to accentuate the shapes of the room while at the same time connecting the works on the wall. In this way the architectural model breaks loose from the flat surface to tangibly manifest itself in the third dimension.