The work consists of a ceramic print pattern on the facades of the two hospital buildings and a sculpture installation on the connecting bridge from which the hospital has gotten its name. The five-part ensemble draws connections with the materials of the surrounding architectures, encompassing both historical modernism and the contemporary architecture in which it resides. Simultaneously, it (re)imagines functions, movements—simply life within the shadows and folds of the architectures.

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The brass sculptures are spread on the interior surfaces of the connecting bridge. On the wall, facing the window and the sea, hangs a railing motive with chains and fishing lures. Clusters of brass bars are folded on the glass railing like newspapers that have been left behind. Cnc -turned copies of takeaway mugs are stacked as towers and placed as single cups on the lounge stairway seating area. Some coins, both blank `future coins´ and coins with the facade pattern embossed on them are embedded in the oak surface of the steps. The ceramic print on the facade glasses in the midst of the aluminum casing grid, depicts sunlight on the ripples of the skin of sea. The pattern lets light through where the shiny parts are and the silvery background behind the glasses reflects it creating a changing effect on the facade.

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The work is experienced in motion or hanging about on different levels of the stairway. The sunlight affects both the exterior print pattern but also the inside sculptures, especially the coins that sparkle with light flooding from the large windows. The forms of the sculptures create visual connections with the architectural details in their proximity, making the eye wander through the space. And the topics of the pieces create amusement in relation to the functions of the architecture and the bodies using it.

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