As a young adult, the artist Müller (1953) personally experienced the disappearance of the world of a ceramics factory of Switzerland, as it unsuccessfully tried to defend itself against the flood of cheap products from Far and Southeast Asia.

Against this reality of brutal change, based on purely economical conditions, she posits her 'j'accuse'. Where she initially let her furore free reign onto 'poor' materials, she now chafes herself on the most valuable and prestigious material, on porcelain. She stretches the material - thereby weakening it - by immersing the packaging material such as cardboard filler into a liquid porcelain compound, fires, to visualize the already very advanced exploitation of the porcelain clay, which is relatively rare due to its purity. The sparse symbols of human dwellings under threat of collapse and at the same time of flying away due to the lack of solid foundations are symbols of an exploitative and untenable society.