The idea for the exhibition was inspired by a psychological phenomenon known as the frequency illusion—a cognitive bias in which, after noticing something for the first time, it suddenly seems to appear everywhere, creating the impression that it is unusually common. Seeing red cars constantly is a typical example. While walking the streets of Linz, the artist observed not only an apparent increase in red cars compared to Budapest, but also that the cityscape is strongly defined by a red-and-white color scheme. This palette reflects both national and provincial flags, as well as the city’s coat of arms.

During the initial days of the residency program, she created a photo series capturing this color combination in Linz’s architectural elements. These photos became the basis for a spatial installation in which she reinterpreted the city’s built environment, blending classical and modern architecture with elements of an imposed, artificial visual world. Among the most intriguing forms were accordion-style barriers, rarely seen in Hungary. These structures embody functions and meanings such as movement, flexibility, stopping, delimiting, enclosing, symbolic boundary formation, and spatial occupation. Using objects inspired by architectural motifs and urban barriers, the artist constructed a liminal space expressing the tension between construction and reconstruction. Transformation and rebuilding become metaphors for the transitory state experienced during temporary displacement, such as a residency.

Themes of identity, adaptation, and the search for home are amplified in foreign environments. The installation juxtaposes the sense of protection associated with home and the fragility of displacement, channeling these heavy themes into a light, playful atmosphere. The resulting space resembles an obstacle-filled playground, where the central structure—modeled after the facade of the afo gallery—becomes the “home base” in a game of tag, or a “castle” to defend.