My first abstract paintings are characterized by a painterly style and predominantly monochrome
color palette.
Starting in 2002 dynamic painterly surfaces contrast with linear elements which are expressed in
gestural brush strokes. Color and line coexist in this group of works independently as autonomous
The acrylic and oil paintings as well as mixed media pieces are not based on sketches. Instead the
composition of color and form is an integral part of the creative process itself. My visual language
is inspired by ad hoc forms as well as impressions from nature and environment. As a result, the
paintings oscillate between abstraction and a vague sense of representation. More recent pieces
show a more haptic use of paint, where scratching and manipulation of paint contribute to an
almost sculptural effect.

Reliefs, collages and paper wall objects mark a transition to three-dimensionality in 2014. The
objects are created by layering different sizes of recycled paper scraps. Abstract forms are
projecting out from the substrate .

The first sculptures in the round from 2015 utilize wire- or fly screen mesh to create a three-
dimensional object that is partially covered with nylon stockings. Two transparent materials are
used, thus allowing the viewer a glimpse of and at times through the interior. In these early
sculptures, not only the materials but also the technique relevant to manufacturing the objects is
entirely exposed.

The ensuing „No-Runs“ are composed of pre-owned stuffed animals, pillows, clothing, fabric scraps
or packaging waste and covered in several layers of nylon.
The process of their creation is rooted in assemblage. Everyday objects are removed from their
context, deprived of their original functionality and joined to form a new entity.
Organic shapes are largely predetermined by the shape of the stockings but can also be manipulated
by applying pressure.
A vivid and almost painterly yet transparent surface is created by layering differently colored stockings.
Its color nuances are often not clearly defined.
Sharp-edged cuts, holes and rips heighten the transparency of the outer layer and all but dissolve it, at
times allowing layers of nylon and fabric as well as stuffing to emerge.
A fluid and ambiguous spatial effect is created. The perception of the viewer alternates between
reading the outside as the inside and vice versa.
By consciously exposing parts of the deeper layers the viewer is granted limited insight into the interior
of the pieces. But they can only guess at what lies there, it is never revealed in its entirety.
All three-dimensional pieces are located between abstraction and indicated figurative representation,
between vagueness and certainty. They are rooted in procedural principles. Their biomorphic
abstraction represents vitality, growth and eternal creation and change.