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Marie Raffn works with language. She utilizes the voice as a way to convey the discrepancy between content and form, spoken and written word. In her sound pieces, she often combines rather technical sketches of space with the poetics of spoken words in a very sensitive manner. She uses her own poems and scores as well as appropriated material and fragments from everyday life, and she favours a free interpretation of already existing literary works.

Raffn makes use of foley sound on equal terms as homophones in languages. Not just for the sound site in her video works, but also for the soundscapes in her exhibitions; these are composed by making use of the sonic quality of the sculptural work. The recording systems often loops in closed circuits.

Her larger installations take possession of the architectural structure and sometimes project beyond its confines. Recently Marie Raffn has composed sound and choreography based on her enlarged abstract sculptural score (one could position oneself inside), which she created inspired by signs from musical notation and dance notation. Raffn is interested in how idea and matter cohere and that interest she wishes to develop and explore during her residency.