Holes appear in her work before points. She starts with ‘digging holes in mud’ and videotapes the process to showcase the “action performed by the artist”. Hole-ism works are red as the emphasis on the action of the artist and on the meaning of nothingness (a hole). Later on, she photographs holes, continues to dig and drill holes in mud and other materials. The production of “a hole as a work of art” is her way of questioning the concept of value in art as contexts shift (when a hole is a nothing into something).  Seeing her work, people relate to the very questions of value and “the point of the work”.  

Drilling and feeding on holes is an act of female empowerment, an ironic commentary on works of art (holes) for sale and artists’ preoccupation with “packaging” their art. What’s more, is a reminder that artists feed on their own art while making it; the work of art is a commodity that, however, can be experienced fully, even in the one quality that defines it (as a consumer product) only by the artist that produces it. That is why her objective is to gather people that actively “produce” arts and to convert the audience into art makers, rather than searching for still observants. 

She refuses quality as established by contemporary mass media aesthetics and shifts the visual experience to a conceptual one, whose practical application/realization is more important than the “looks”. As degrees of ‘realization’ are heavily judged by established values of quality, she reminds people that questions of ‘quality’ (what is more “beautiful” or “ugly”) implies  hierarchical order and thus discards questions of ‘equality’ - the humane ways to relate to each other, respect and appreciate the works of everyone.