Between all of the three-dimensional work, it stands out that Badriah created series of prints in 2019. The reason for this was that she had an accident resulting in a severe concussion, followed by a year of rehabilitation. She could not work much and was advised to develop a daily mediation-practice and avoid sunlight and overstimulation. Because sculpting was not an option, Badriah organically found a way of maintaining her practice by creating series of prints on the basis of photographs of her own sculptures. This is how series the REEL came into existence.

Making use of bilateral symmetry gave the images a strikingly serene appearance. Within them Badriah strives for formal and internal equanimity, much like in her own process of reuniting the mind with the body. One might even say that the hours she spent meditating as part of the rehabilitation process, indirectly gave rise to a center and a centeredness within the work.

This reworking of existing material proved to be a way of creating a new context for her past states of being. The reflections in the water that she created in this period, summon a parallel world that dwells underneath the surface. Peering into this imaginary realm, the artist seems to ask questions about the nature of reality. The dualism and reversal, that previously were only in-explicitly there, now become part of the method and of the message of Badriah’s work; reversing and feeding itself with itself.