Carla Swerts’ work never starts from a thematic or conceptual framework, but takes sensory observation as a main incentive. Involving in an intimate relationship with a specific environment through sensory experience is fundamental in her artistic practice. Swerts relates to her environment through a dialogue with detail rather than through embracing a general perspective. Her artistic methodology consists of looking for and collecting fragments of different times and contexts. They are recorded with archaeological precision, or are sometimes subject to abstraction, like a memory reduced to its contours. She is looking for associations and resonances between those recordings, since she is convinced that meaning arises from connections between fragments rather than from abstract conclusions. Her PhD publication Woestijngetijden is composed from this point of view. It is a book without a linear structure, but with the assembly of a weaving loom. In a flexible tissue, its threads have the ability to disappear and reappear, causing each other to change tone in unexpected places, like colours do in the proximity of other colours.