The title of this work refers to the title and length of a pop song, to which a woman has danced on the metal plate in high heels. It's the song 'Baby Love' from 1964 by The Surpremes. The heels have left imprints. These are the traces of carefree exuberance, of rejoicing in the self, in being, in life, freedom, and one’s own physicality. It is everything that dancing can embody. In many cultures, living and experiencing such freedom is restricted, especially for women. The minimalistic imprints on the metal plates are the powerful signature for such liberty.
On a thin tinplate one sees traces of stiletto heels during a dance to the Turkish song 'Ince Ince' of Selda Bağcan. The footprints left traces of a moment – a light-hearted dancing situtation – in analogy to photography that also freezes a temporary moment.
A musical fanfare can serve as the finale to or the announcement of something great, a special number at the circus, or the climax of a performance. It signals to the audience that they should hold their breath or applaud. Nevin Aladağ’s 'Tusch' consists of portions of metal balls formed in the size of historical cannon balls. The five black lines beside them make them appear as if they were heads of musical notes. We can read the short score as Tatatataaa or TaTaaa TaTaaa TaTaaa. Something is being announced with the force close to the destructive power of a deadly weapon.