Some concerts demand lasers. The music played determines the color of the laserset. For her it worked nicely when combined with corresponding lights. Her trademark was to create a moiré pattern out of overlapping sets of lights. The intensity and brilliance made the audience hear the music faster. Right before it was played, they could anticipate the chord, the tune and the balance of the forces. Her trick was that she could enliven the lights by pointing at the direction they’d shoot with her fingers. When she wanted the moiré effects to be present, she’d open both hands and make her 5 fingers overlap with those belonging to the other hand. One could say that the whole lighting or laser design for the performance was created by her own dance or performance. Her body was becoming a tool, an instrument or a device causing the whole aura, atmosphere, exaltation, sometimes even panic among the audience. Her design worked differently when she worked indoor, then when she was covering the space surrounding an outdoor stage. The beams she shoot seemed to reach the stars. This is why she’d never agree to design on a cloudy night.