Miryam always decanted her artistic exploration between figurative and sureal art, as realized from her exhibitions since 1996 to 2002. Since then, her work has been taking conceptual elements fractured and incomplete in a search of a consensus between objective reality and emotional reality. Besides the other elements of the visual language such as color where her remarkable and careful use of color is both, subtle but also direct with trenchant contrasts, however, pleasant and well balanced. The other significant element is her approach to texture, present as an alternative between the mundane and the spiritual, something that Miryam continues to introduce in her work. Since 2002, Miryam tends even more to use fractures as a regular trend in her aesthetical language: the pursuit of perfection affected by time and space. The constant use of of the circle as an unambiguous reference of timeless perfection on one hand and on the other, the fracturing of the circle into sub-elements as a reminder of life’s perennial movement toward perfection.
Glass operates in a narrow range of elements that only a great burst of inspiration would make room to archive the meaning and the idea of the final artwork, enough in it and of itself.
The transition from the dynamic of non-figurative elements to the figure or the denial of it. Contradiction in a permanent and delicate, yet intense, balance.