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“I am mad about interruptions, sketches, the ephemeral, the chaotic, the second chance things have to come back to life,” Brey once said. Everything that crosses his path deserves a second chance: this is the breeding ground for his work. Brey always starts out with personal interpretations, associations and the conviction that “every material has a spiritual and creative value.” In Birdland (2001) he makes old coats into a nest, which contains ostrich eggs and a saxophone in the shape of a swan. The materials have multiple layers of meaning, both alluding to Brey’s recent fatherhood and containing a combination of references to the worlds of music and nature.