Manon’s work is closely related to the deconstruction of painting, where its tipping point lies and what makes the medium itself. She started to acknowledge that painting on the flat surface of a canvas was not fulfilling her curiosities about the medium, moving her towards basing her investigations towards words about the medium, such as: “Colour, “Separation” and “Misbehaving”. Allowing her works to become more specific and striped down closer to its core. Pushing the narratives of what is considered “acceptable” to interject with painting and what makes them belong or not with the medium. Using liquid latex to make bright coloured layers overlapping and suffocate the painting by stretching it over the frame, enveloping painting, achieving the idea of separation and depth within the work. Manon also looks at the way she treats her paintings, not treating them with the upmost respect and not caring about the scratches that may penetrate the surface and countlessly rolling them up, leading to a series called “Canvas Seperation”, she intertwines her rolled paintings with the medium of sculpture, placing one on top of the other creating a form of tension in ideology and physically. Quickly realizing these rolls did not belong on the surface of the canvas Manon dramatized her work by diving into the space of Installation, carefully placing work into spaces or making them in situ. This allowed her work to breath and form itself between mediums and entice viewers to question what they were looking at, whether it was a painterly sculpture or a sculpturally painting.