Hysteria is loaded with tension – a sign of the times. Compressed between pillars of limestone, a smashed crystal-clear glass 'I' at head height reveals fractured nerves. A fragile interior is encased in smooth planes, back and front, yet is open and exposed at the edge. The I-head rises up from a void, barely clasped between two towers that act as body and legs. Hysteria is broken but whole and grounded in the Earth.
 
Mediating between past and present, Hysteria recalls a cruel history and stands in noble dissent. It translates the remnants of medical and social theories of hysteria, based on timeworn notions of an ideal femininity, which trace through ancient Egyptian and European texts. The Ancient Greek philosopher Hippocrates described hystera as the “wandering womb”, a phenomenon dictating women’s mysterious and indecipherable behaviour. This theory extended over time to encapsulate many female maladies and problematic symptoms such as free-thinking, dissent to marriage, and rejection of childbearing; and justified treatments incarcerating women’s bodies and minds.
 
In Hysteria, the self-declared sovereignty of the ‘I’ form reflects the inside and outside, and shines in the light. The indpendent figure projects resilience and situates womb, body, mind and thoughts as focal points at the center of the rhythm of life.