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Nikos Papastergiadis has referred to the 'seductive materiality' of Constanze's works in this exhibition. He speaks of Constanze’s use of the techniques and materials of speedboat upholstery, such as vinyl and plastic, and in particular the use of a very alluring iridescent material. Nikos also draws some connections between these and earlier works, seeing a continuity in themes 'to do with colour and materiality which draw both from abstract ideas about colour formations and also from pop ideas about materials.' The strong use of single colours has been a distinctive aspect of his practice, as in his earlier use of primary blocks of colour via screen printing or stencil techniques. Nikos goes on to suggest that an essay by Roland Barthes may provide insight into Constanze's use of plastic in these works. Barthes highlights the reproducibility of objects in plastic – where the reproduction is not inferior to the original production – a quality that is less melancholic in nature than utopian, in the sense of a fantasy of endless life. The materials and techniques of dressmaking and fashion have also been important in Constanze's work – Nikos notes that Constanze's studio has sometimes been located in areas used by textile and clothing workers. In this preoccupation with fabrics and sewing, Nikos sees a layered range of meanings which call up associations between the pleasures of high fashion and an underlying strand of pain, or the frequently invoked dialectic between glamour and death.