The work is primarily about painting; it’s nuances, it’s faults and the way it’s seen and made. I see paintings as signs -signs for everything that stands behind them, and for everything they point towards…
My work method is a relatively intuitive and open-ended process based on studio practice where I usually work on several pieces at once and the paintings inform each other.
My work expands outward from a central point of minimalism, into a world of texture, color, and material. I am interested in investigating the concept of space, boundary and the aesthetics. My works are representations of that exploration…
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…
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 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.