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.
What is fertiliser for your work? Honestly, it’s just the materials themselves.
I get inspired by dirty walls, grime, torn posters, erosion, found colours and weather. I find going for walks and cycles the most interesting thing to do, there is so much out there to see and such discoveries provide ideas for myself to work from.
Growing up in Minnesota I spent time near the Canadian border. I’d like to return there someday, and make paintings of the landscape. Seeing the aurora borealis has had a lasting effect on me.
The fertiliser for my work? Movement.
When something must be done, I’m very focused on what I’m doing. That is how my work has taken new directions.