first abstract paintings are characterized by a
painterly style and predominantly monochrome
Starting in 2002 dynamic painterly surfaces
contrast with linear elements which are expressed
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
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
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
The ensuing „No-Runs“ are composed of pre-owned
stuffed animals, pillows, clothing, fabric scraps
or packaging waste and covered in several layers
The process of their creation is rooted in
assemblage. Everyday objects are removed from
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
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
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
between vagueness and certainty. They are rooted
in procedural principles. Their biomorphic
abstraction represents vitality, growth and
eternal creation and change.