are reflected in her collage technique and political satire." In the 1990s, she had worked with real flags as installations in public areas: She created and painted new designs and symbols on flags and hung them beside and between official flags in Düsseldorf and Luxembourg. Thyes participated in the Art Colony Galichnik in Macedonia in Summer 2010. Artists and curators from various Balkan countries worked together. Thyes asked her subjects to answer in their mother tongues (Serbian/Croatian/Bosnian, Macedonian, Bulgarian and Albanian) and then subtitled their replies into English. She created a collage of images and voices in a two-channel video installation, called From Art Colony Galichnik with love (Macedonia 2010). "Thyes documents the thoughts of her subjects and combines their words with shots of the countryside. She creates a sensitive picture of the different personalities and characters, partly by matching the two sets of images. The shots of landscapes and towns depict the origins of the person speaking or emphasise the content of what is being said. Thyes, who has Swiss and Luxembourgian roots, puts the individual at the heart of her work. In doing so, she teils a story of the human needs that exist together at a specific point and place in time - and that, ultimately, reflect the needs that people experience at any time and anywhere in the world." The series of photos and photomontages Glasgow Styles reflect the artist's impressions of the post-industrial city of Glasgow and her inhabitants. Thyes has drawn a social portrait and created a kind of contemporary "Historienbilder" (historical paintings). Michael Staab in The Whole Picture. Second Take about this work: "... Now, in her series entitled Glasgow Styles, Myriam Thyes takes the consistent next step, and combines the realistic, serial and documentary potential of photography with the formative, allegorising and metaphor-creating traditions of the fine arts. She compiles individual snapshots into sequences that make lapses of time and changes of perspective visible, and also mounts photographs taken at geographically differing locations and at staggered points in time into altogether new pictorial inventions. The citizens of Glasgow, some of them mounted into the original pictures, happened to be at other locations in the same town at the time the pictures were taken. Thus the right people are in the pictures, only, as stated above, at a different place and at another time. The divergence thus highlighted between space, time and individual