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A Mira Tschaeni & Michael Husmann Tschaeni artwork stares you in the face. Under the 

layers of pinks, greens and blues, you sense movement. As if it is watching your back.

Suddenly, you feel yourself being drawn into the art, losing focus. 

„We work backwards ...“ greets you as you enter the gates. A small plaque reads: „A hell of positive energy with a small hint of hidden otherworldly darkness mixed with visual poetry and deep sensitive natural beauty. A daily biological presence combined with absurd undefined monstrous fantasy.“ Whatever it means, you feel impelled to move into this otherworldly place.

Huge floating fluorescent orb-kites, perched on top of barely-there stilts, strut around you. 

Characters who seem to be built from the back-forward greet you, shake your hand. Fabric, furniture and bodily cells float around in the air. Touching one of the cells, the landscape 

shifts sideways into flying oils, glitter, crayons. 

A voice is heard above the chaos: „Our canvas forces us to think backwards ... what‘s painted can‘t be painted over“. A feather enters your vision, and as it slowly transforms into an iron glove, you shift again. 

You now see people who live with cats, goats and fish in an idyllic lake valley. They are making art, the stories of their daily life. The last chapter of their great grandmothers, the birth of 

kittens, the passing of their goat, fallen trees in the neighbouring forest, the growing of their kids, the disappearing of childhood. Everything that surrounds them soaks into their art. 

The scene shifts once more, and you see a tower in the middle of a shining yellow canola field. ‚Neon Gold‘ is its name, but it fades before you can reach it. Collapsing under its own weight, the vision implodes. You are left back on the street.

Walking away, a little voice whispers, „welcome to our world“.

(Nancy Bugeja, Editor, Fluoro, 2011, Melbourne, Australia)