After a phase of experimenting with small acrylic prisms that refract incident light, Hersberger soon began to employ transparent plastic glass, chiefly in the form of panes. Since the early 1970s, she has used it to create wall boxes and image objects with a see-through front. In every case she varies a specific theme according to her own rules. While she roughens the acrylic glass front of her Polissages by means of a specially designed grinding technique, so as to cast a veil of mystery over the interior of a work, in her Lichtpinsel (Light Brushes) she uses light-conducting glass fibres. In her Pliages, by contrast, Hersberger explores the principle of folding, and in her latest series of works she even ‘paints’ with coloured shadows. By blending the front and back planes of the image, the colour forms in these and other series merge to form new configurations. The space in between the two levels allows vibrant structures to arise that change dynamically according to the incidence of light and the viewer’s perspective; at the same time these works blur the boundaries between two- and three-dimensionality.