Just as Alvesson and Skoldberg's reflexive methodology no longer addresses how to conduct good social science research, she is also much less focused on purely empirically oriented approaches or the foregrounding of theory and philosophy.
In her words, the exhibition needs to be juxtaposed with the actual situation of the local community, merging individual and collective experiences together, in which the exhibition is used as a tool for discussing social issues and attempting to respond to the question of how curators should conceptualize curating as a radical relational practice that addresses social issues.
The context of the relationship between trauma and curation cites Bourriaud's concept of relational aesthetics, which stands in opposition to ‘representation’, and can be described here as the refusal to show symbols on behalf of someone or a group, and rather as the creation of a moment of encounter. With this approach, the exhibition no longer shows objects but deals with social relations.
In her graduation dissertation, she is interested in the role of curating in a post-pandemic world and how curating can avoid the homogenisation of trauma in the context of the globalisation of the art world, where exhibitions are important.