Non-Waiver at Ulrik presents Bettina’s 1970s self-portraits and 1977–81 wooden sculptures, rooted in her “random constant” method. The photographs, made in her Chelsea Hotel bathroom, stage an “eclipse of the self” through fixed perspectives, while the wave-like sculptures evolve from identical elements into varied forms. Uniting rigorous structure with chance, the works reflect her pursuit of open-ended creation—“a resolution rather than a conclusion.”
