How much desire is behind one of your selfies to be accepted, appreciated and loved? How far would you go to obtain that? Would you modify your being? Would you able to delete every trace of you and reconstruct yourself according to what everybody could praise you for, adore for, virtually follow for? Would you remember what has always made you unique?

They seem some questions at the base of a psychological dystopia, but they’re actually pretty much legitimate to ask in a growing evolution of the digital world and its influence on our beings.

At the same way, the installations of the Luxembourgish artist Sali Muller search for their identity and through their deconstruction they touch themes as the one before, as the time that flows and things that inevitably change.

They’re already broken glasses that loose, in more phases, all their pieces, included frames. They’re clocks that lose their hands. They’re squares that slowly detach themselves from the wall. There are no integral mirrors where you can reflect yourself, who looks at them can’t distract himself or herself from the work that the installation inevitably in its deconstruction allows him or her to do. They force us to slow our process of change to let us find again what has always been unique in us, inside us, while times flow and everything change.