I work in a very repetitive and monastic way. I come to the studio every day, pretty early in the morning, and I work until evening. My practice is very time consuming and labour intense but it can be quite meditative so I enjoy it very much. New works come exclusively from the work itself and from my progress in understanding it…
My work examines the „bodyness“ and sensuality of materials and objects from daily life like easy fabrics, tiles, glass and wood. I also examine my environment, objects or bodies by taking photos, modelling with clay or taking moulds from body parts. What I also try to document with photography is atmosphere. My objects work like pictures but mainly as „persons opposite“. The objects creates a physical presence in the room and so the aspect of atmosphere becomes relevant again…
Marcel Duchamp’s works and ideas exert a strong influence on my work – specifically the moment that art begins to migrate from the eye to the mind. This relationship, the balance between the retinal and non-retinal, is apparent in chess, where the pieces stand as material shadows cast by the mental processes that drive the game forward. Duchamp’s chess activity feels to me like very powerful source material in this regard.
I am interested in language as a system which we use and which surrounds us. Words structure our thoughts and therefore our perception. Nevertheless there ist a immanent gap between the image and the word, between us and our surrounding. I create archaic paintings, signifier for this condition. These archaic, symbolic images preserve and highlight the interval between image and language. Others are more connected to system structures, flirting with power, or create signs we have to refill.
My work can be compared with the cinema theatre with lights on at the end of screening. This describes both the appearance of my work as well as how to me it reflects the contemporary reality. I make ghost-paintings. You can also call it painting with timecode. It combines on one surface the projected, performing image (ghost figure) and depicted space (stage), both of equal importance.
I’m not proficient in working with the computer or digital media.
I draw my inspiration from simple structures that I find in urban settings and in nature. This might be a stair railing, the growth of a tree or a car sticker.
The most inspiring is life in general. Things I see, things I read about, things that happen to me. These things lead me towards making art.
I’m inspired by the way everything is connected with each other.
The most inspiring thing is the process of making art itself.
I work best under time pressure. I give myself deadlines all the time, but I never make it. Only the most important one – the last one.