The starting point for the work is photographs of half-timbered houses which the artist has digitally processed. Similar to a 3D print, the photo files were cut from clay and translated into a ceramic module. As an ornamental composition, a dynamic is created in the space, which Chris Dercon notes in a conversation with the artist: “I think you go much further and think about ornament not only as a form of liveliness but also as a form of animation.“ Framework combines the architectural language of the European cultural space with that of the Middle East. This interweaving of perspectives is based on a transnational idea that is central to the artist’s work. The serial, non-hierarchical arrangement of almost identical modules is reminiscent of Carl Andre or Donald Judd but also evokes a multitude of cultural, historical, and autobiographical associations.