The new path taken by Slaats is characterised as liquid art, not measured out in terms of form, but a representation of the desire for unbridled freedom. It is the interaction between the transience and unpredictability of our current times as experienced by Slaats. Her contemporary monumental objects are fanciful of form and thus relate back to the lines that we can also find in BLOB Architecture (BLOB Bi-linear Object, a term that was first used in 1995 by the American architect Greg Lynn). The Guggenheim Museum in Bilbao is a classic example thereof. If we continue this parallel to the current 3D objects created by Slaats, it is not so strange that we regard these as BLOB art. When manufacturing an object, Slaats makes use of industrial techniques; her place of work is the factory. In an interim phase of production, the artist encroaches on the development process. Slaats constructs her characteristic contour-based language from very hot poly-substances which often originate from petroleum but also from other, recycled raw materials. The material’s plastic malleable moment is short and requires alertness and rapid shaping. Slaats explains that this also makes it exciting and is precisely why it fascinates her. Her new pathway is both surprising and remarkable. It is not only a personal breakthrough for the artist but is also a breakthrough in terms of the evolution of art. The objects are honest and free, industrial materials in their purest form, offset against the transience of and elements from the current life. The BLOB provides the viewer with an exciting image-based dialogue. A dialogue that agitates, presents question marks and reflects our interpersonal society.