member of Deutscher Künstlerbund (visual artists association, Germany) and Visarte (visual artists association, Switzerland). Works One of her best known works – frequently shown in exhibitions and festivals internationally – is the participatory animation project Flag Metamorphoses. She started in 2005 a continuously growing series of Flash animations concerning flags, other national symbols, and relations between countries. It's a work about relations between nations and identities: each artist who creates a flag animation expresses such a relation in his or her own way. So far, the series contains 40 animations by 30 international artists and teams. All animations together include about 100 different nations. Professor Paul Wells about Flag Metamorphoses in his book Re-Imagining Animation: "Thyes's work is a very particular response to what she describes a very human 'double wish' to have both an individual identity and yet belong to a bigger group, often represented through nations, which are themselves 'imagined communities'. On her choice of flags as iconic Stimuli, Thyes recognises that their symbolism often endures beyond the actual conditions a nation lives through, sometimes remaining largely aspirational (...) Working in such a direct and politicised way, Thyes saw the opportunity to embrace both a democratic approach to the creation of work responsive to a core theme while engaging with other artists, but also in relation to its dissemination to a global audience on the World Wide Web. (...) Inevitably, this level of engagement prompts differing approaches and levels of interrogation. The political level looks at relationships between neighbouring countries, colonial ties and cultural imperialism. On the other hand, the artistic level examines the collapse and revision of largely geometric forms into more amorphous, organic and fluid configurations. (...) Thyes recognised that the key concept of changing cultures was readily revealed through the use of animation's core language of metamorphosis, and in the way animation could reveal and yet challenge the dense meanings embedded in national image systems. (...) Conceptually, Thyes felt that the best results might be achieved if the metamorphoses themselves took place within a single frame: 'What I have in mind is generally one changing image, not a film with scenes and cuts.' (...) This use of the formalist limits of the frame, while addressing the conditions of transition and meaning within it, reflects Thyes's background and identity as a visual artist. The particular influence of Russian Constructivism and the work of the Bauhaus movement