A continuation of a series of Berendes' earlier reliefs, her plasters, Untitled, continue an ongoing engagement with an interest in architecture, design and high art, whilst their unrefined surfaces provide a sharp contrast to Berendes' highly refined 'paravents.'

These reliefs are strongly linked to the aesthetic of Brutalist architecture. Evolving from modernist architecture and prominent from the 1950s to the 1970s, Brutalism was a style of architecture renowned for angular geometries, often produced through casting concrete in situ, using wooden forms.

Brutalist architecture often casts the negative, that is, what was left once the wooden frame was removed. With Untitled, Berendes has made positive casts, preserving her own rudimentary wooden constructions in plaster reliefs to question the distinctions between painting and sculpture.

As with many of her works, Berendes employs a strong formal language to suggest an ongoing engagement with modernism, however, the crude simplicity of a craft-like sensibility is ever-present belying any sort of fixed historic aesthetic, rather, it suggests that this language is still being used today as part of her expanding vocabulary of formalism.