During this period Cytter was developing her visual language and translating it through textually based video art. Her narratives, although extremely fragmented have a tendency to embody the post-modern self awareness of the characters in her films. Through the development and execution of Cytter’s unique style, she has found herself a niche in the art world which has brought her recently more critical attention. (Frankfurter Allgemeine , de Volkskrant, Artforum, and others). After graduating from De ateliers in Amsterdam, Cytter has made several works that have been shown internationally including “the Date Series” (2004; a series of short narratives written, filmed and produced in the period of one year), “The Victim” (2006), “Repulsion” ( 2005; after on Polanski’s Repulsion), and “The Milk Man”(2003).

In addition to creating video installations for her shows, Cytter is also a critically acclaimed writer,[1] “Alexia” (2001) being her first published journal and her first novel “Yesterday’s Sunset” (Shadurian, 2003). Her latest work includes “The Man who climbed the stairs of life and found out they were cinema seats”, a stylistic approach to cataloging her narrative films. In addition to novels and Journals, Cytter has published poems and written the libretto for the chamber opera “LE VOISIN” (by Thomas Myrmel).

In “Der Spiegel” Keren Cytter explores issues of morality and decay through the re-appropriation of language and psychoanalytic theory.