In the deep red coloured mirror glass stands a shape every eye already knows before it fully arrives, the London telephone box, its crown held high on the roof, its small window panes lined up in neat rows, its door left standing slightly open. Someone has just stepped out, or is about to step in. The booth holds that pause, the moment before the call connects. No paint, no print, no ink. The image is not applied onto the surface, it is formed by what has been taken away, a field of individual marks shaped into the red coloured mirror glass itself until the booth, its crown, its panes and its waiting door emerge from the removal. On the lit side, coarser marks catch and hold the light, while the rest of the form stays dark, unlit, folded back into the glass. Red is the one colour this box has always worn, the colour of urgency, of a call that matters enough to make, of warmth held inside a cold iron frame. Here that same red carries the surface itself, so the telephone box is not only drawn in red, it rises out of red, as if the colour were the material it was always built from. From across the room the booth reads as one steady, monumental silhouette. Step closer and it dissolves into a field of fine scratches, each one placed, none of them announcing itself, the image only holding together at a certain distance, the way memory holds together until you look too closely at it. The mirror is part of the work. Around and between the marks, the room and the person standing in front of it are reflected back into the red, so the viewer is drawn into the same space as the booth, standing exactly where the next call would be answered. Light does not create this image, it is always there, present in the surface whether or not a lamp is aimed at it. What light does is sharpen it, deepen the contrast, let the scratches catch and hold a little more shine. The reflection around the work changes with the room. The image itself does not. A Call Waiting in Red continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work. A visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part. This work is unique. "Some calls are never finished. The door stays open, and red remembers." About Art on Mirror – Red Art on Mirror is a body of work in which the image is scratched into coloured mirror glass, and the world in front of the work becomes part of it. Every line is cut into a deep red mirrored surface of acrylic glass. The scratches are always there, bright against the colour, while the surface around them keeps reflecting the room, the daylight and the person looking. From a distance the image reads clear and complete, a pale figure held in a field of red. Step closer and the work opens into a delicate web of individual marks, fine and deliberate, each one essential to the whole. Behind and between them the mirror does what a mirror does. It carries the room and the viewer into the composition, so the surroundings in the work change with the place where it hangs, while the image itself stays firmly in place. Light does not create the image. It sharpens it. The red ground absorbs and reflects, the scratched lines catch and hold, and under a focused spotlight the contrast deepens until the figure takes on a sculptural, almost luminous quality. In softer light the colour comes forward and the work settles into a quieter register, without ever losing its subject. Red is the colour of blood, of fire and of everything we cannot stay calm about. That is the emotional ground every work in this series is set against, and the subjects are chosen to belong to it. Art on Mirror continues the scratched imagery of Art with Scratch by Tijs Dragtsma on a new ground. Where the black works draw their power from absence, these draw it from reflection. The viewer is no longer only looking at the work. The viewer is in it. About the Artist My name is Tijs Dragtsma, founder of TD Fine Art Studio. As an artist, I am driven by a constant desire to explore new visual languages. I do not see art as a fixed style, but as an evolving field of discovery where material, structure, light and emotion come together. My work often begins with a simple question. How can a material speak in a new way. How can hardness become intimacy. How can precision create emotion. That search lies at the heart of everything I create. Within TD Fine Art Studio, each body of work is approached as its own world, with its own logic, atmosphere and visual identity. Some works are built through rhythm, repetition and structure. Others emerge through absence, shadow, reflection or tension. What connects them is a shared commitment to originality, clarity and emotional presence. I am fascinated by contrast. Between strength and fragility. Between control and feeling. Between what is visible and what is left open to interpretation. My goal is not simply to make an image, but to create a work that holds attention, invites reflection and continues to reveal itself over time. TD Fine Art Studio is the space in which these explorations come together. It is not only a studio, but an evolving artistic universe shaped by curiosity, precision and the ambition to create work that feels distinctive, intentional and alive. This listing contains AI-generated visualisations. Please refer to the original photographs to assess the actual condition of the object.