Illusion Mirrors, 2023

On View during Ashes & Sand at Schloss Hollenegg for Design (AT)
Realized with the support of Culture Fund Eindhoven.

Glass, Silvering
57 x 37 x 1,2 cm, 57 x 35 x 1,2 cm, 13,5 x 24 x 1,2 cm


The illusion mirrors appear to be metallic objects but are, in fact, glass forms obtained through kiln carving.

Heat-resistant felt is cut into a shallow mold, in which a flat glass sheet is slowly melted and transformed into haptic bas-reliefs. Successively the glass is coated in silver to become a mirror.1 Because the mirror's surface is not flat, it distorts the image rather than reflecting it faithfully.
The hand mirrors are designed for use in the Saal of Schloss Hollenegg. Philipp Carl Laubmann painted the Saal in 1750 with architectural motifs, which transformed the two-dimensionality of the walls into an exterior space. By holding an illusion mirror, visitors can further immerse themselves in the spaces they are walking through. Together, the mirrors and rooms of Schloss Hollenegg create an analog effect of collision, distortion, and reflection.

1 The earliest manufactured mirrors were pieces of polished obsidian, a naturally occurring volcanic glass. During the early Europe Renaissance, mirrors were made by coating the back of the glass with a tin-mercury amalgam, and the mercury was then evaporated by heating the piece. Mercury vapours are highly toxic and in 1835 the German chemist Justus von Liebig in 1835 invented the silvered-glass mirror. Today, a layer of silver or aluminium is fixed to the glass plates by electrolysis to obtain clear, clean mirrors without shadows or stains.

Share the Vibe, 2023

Comissioned by EDHV for Eindhoven City.

Interview and Film


Every morning is an opening into the unknown:

Clara lets go of all restrictions and completely flips the script. The moment determines the story. She goes wild with digital techniques and creates fictional characters that together form unique patterns. Computer-generated characters are increasingly common in film, games, and other media. How do they change our behavior? Clara answers this question by creating fictional worlds of flowing crystals, glossy textures, and human figures.

Off-screen: An open pattern of figurative dives, 2023

Currently on view at the Museum of the Future, Enschede (NL).
Previously exhibited during Tec Art, Rotterdam (NL).

PLA, Glass


A wall piece, blending digital and physical elements:

combining and merging of object, screen and contnet. While the screen displays slowly moving patterns generated through fbx files and animations, they form the basis for the physical and haptic shapes of the object.

Bluet Flower, 2023

Collective Work by 
︎︎︎Delphine Lejeune, ︎︎︎Kurina Sohn & Clara Schweers
Site Specific Object, Amsterdam

PLA, Glass



holographically speaking, 2022

Part of multimedia installation Into each other
Ceramics, Steel, PLA, Aluminium, Glass, HMA

Gijs Bakker Award Nominee
On view during Pools of Swallowed Grounds during Mayrit Bienal, Madrid, Spain.

Into Each Other, Press Kit


Focussing on digital parameters of CGI charachter Megan:

Megan can move her stock body according to the input she is pushed to follow. Her body responds to predetermined paths she willingly agrees to move along with, caught in feedback loops from where there is no escaping the order she was placed in and created for. Or so it seems. She is programmed to be female and so is the way she moves her body. Her motion library consists of gestures such as the “female kiss”, “being carried” or “looking over the shoulder”.
The female kiss became the focal gesture for this project. Not only as it has been subject to be controlled through cinematic history back then, but because it still acts a a moment of separation between what is supposed to be seen and what relies on sole imagination, today.
Instead of looking upwards, searching for an inexistent male body, Megans kiss was digitally examined and tested to an extend from where her body took shape as a new entity. As a result her body on screen distorts, puffs up and visually redefines the gesture of the kiss as a framing element for films screened #IRL.
Megan’s way of residing within the screen and distorting her body has created the basis for the projects physical presentation. Screens mounted in place.