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MicroMacro 2011
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disentanglements 2011
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shelters I 2010
The Work Shelters I consists of a series of pencil on paper drawings.
On display are strictly symmetrical formations, levitating in an undefined space. At first glance, these objects are reminiscent of architecture or architectural decorative elements, but an ultimate allocation is denied. Associations of masks, ritual vessels or domestic objects overlap and push themselves to the fore.
What are they? Utopian architectural designs or the documentation of an excavation of cult sites buried a long time ago? To which point on the timeline can these objects be fixed?
Shifting the imaginary timeline slider alters the perception of size and materiality. Monumental stone buildings shrink and transform into fragile, odd shaped porcelain vessels.
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shelters II 2010
In Shelter II twelve plastic attachments are lined up in a strict order on a blackboard. They might resemble figures of a chess game right before the first move is made or neatly arranged optometrist glasses in the moment before an examination.
The conical shapes vary only in small increments of their plain and jagged edges. These accurate forms are reminiscent of the star-shaped floor plans of fortifications, the objects grow and aggressively defend their defined interior from the outside world.
But only briefly they are able to sustain the impression that they were built of high quality material, until the suspicious imprint in the cheap plastic is discovered and banishes them back to their domestic origin.
By combing both parts of the series (Shelters I and Shelters II) the game of shifting and changing assignments in space and time is amplified. In this investigation the subjects contextual situatedness flickers and therefore everything stays vivid and constantly in motion.
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sediments 2010
The series “sediments” results from a combination of geological view panels and illustrations of the Inferno from Dante’s Divine Comedy. It is the principle of resemblances this series deals with.
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ancestors 2010
Small frames gathered at fleamarkets are the departure point of the series “Ancestors”. Usually connected with portraits of family members or even devotional pictures, here the frames display coloured collar models and jellyfishes set up on monochrome backgrounds. The already striking similarity of their forms is reinforced by the fact that it is possible to assign image pairs in colour and materiality. While the collars refer primarily to the absence of their makers, the jellyfishes are presented in their splendor unchanged for millions of years.
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zoom 2009
In “zoom” picture details of a former cycle are manually blown up into larger scale drawings. At first sight this seems like a mere mechanical reproduction, but the details deny this, as they evolve organically in their transcription process, also reflecting the specific qualities of drawings against digital imaginary. Not only single elements disappear or reemerge in a different constellation from one transcription to another, but also the level of detail is enhanced with every zoom in.
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worlds 2008
The series “Worlds” was inspired by alchemistic prints from the 18th century depicting the creation of the “Philosopher’s Stone”. In my drawings those antique glass-vessels were transformed into abstract circles that served as Petri dishes for an artificial genesis. Based on this idea of “world making” the works play with various formal elements within a fixed framework.
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Und durch die Ritzen zieht´s... 2007
