The collection of feminine accessories, which Karin Zur has created in hand-thrown pottery, is provocative bordering on voyeurism. We are the peepers looking through the lock on a 'woman's accessories' as she is getting ready to go out, hesitating between one handbag and another, choosing from the collection of shoes, not to mention intimate items of clothing such as a corset or a bra.

The feminine obsession involved in the never ending chase after dynamically changing fashion fads that is almost turned into a circus in its attempts to catch-up, is translated by Karin Zur into a decorative obsession which covers the facets of the objects that are meticulously made, with patterns of rich ornaments. These patterns taken from a world of textiles: cloths, tufted laces, leathers, plastic, embroideries and weavings – all of them soft and pleasant materials, traditional in everyday women's accessories - are poured in Karin's world into hard baked clay. The colourful richness which she well imitates is meticulous in its details in the drawing of illusion upon the objects which almost absurdly imitate with great precision materials and shapes.

The obsessive decorativeness that leaves no empty spaces is common in decorative and naïve arts, and the imitation of materials which makes clever usage of well made kitsch provides pleasure for the viewers' senses, with easily recognisable familiar everyday objects. The connections Karin makes between the high and the low – between craft and drawing, between life and art is reminiscent of 60s American Pop Art that precisely copied everyday objects in drawing and sculpture and in doing so made the viewer think about the world of consumerism in a critical and sarcastic way.

Karin intuitively combines influences from her reality both as a fashion designer and as a colourful artist, which itself is rooted in her childhood in central Asia. Her bag is in fact a metamorphism of the traditional ceramic container which changes in transformation into a clearly feminine object. The feminine accessory is seen by her as a ritual icon symbolising the feminine world given to the pressures of fashion. This is a feminine world, bizarre, elusive, tempting and biting as one. The woman constantly chasing after brand accessories can never satisfy her hunger and that same hole in her soul which seeks to attract, to standout in its uniqueness and even to demonstrate financial status.

In turning the objects of female desire, OBSESSIONS, into non-functional inanimate objects 'woman's possessions' are turned into frozen objects of art. Unfulfilled female frustration is translated into window fittings winking ironically to her – the woman.