The multi-part work "soft defense" deals with the notion of transformation. The delicate clay floor sculpture follows the conceptual idea of shifting contexts and materiality. The spike elements are visually pending between a spine, a centipede or aircraft rotor blades, evoking organic and manufactured associations. The borderline aesthetic and title of “soft defense“ oscillate between oppositions: well-fortified vs. in need of protection, robust vs. fragile. The prototypes for this expandable work series are industrial static elements on metal fences similar to barbed wire. They are transformed by the artist into an abstract chain structure that – on close inspection – reveals traces of manual labor und imperfections. The traditional vessel material clay is completely reinterpreted and reshaped. There are no strict geometrics but still sharp edges and precise forms slightly varying in size. The surface with fine cracks on the bone-like color or matte black charred optics is taking the materiality and seriality to its limits. – Julia Freiboth
"Plasticized, impression I" is a rectangular relief work floating in front of the wall, and made of silky black PVC foil. The surface appears latex-like and is dominated by abstract bulges, protrusions and folds. The image carrier seems deformed by vacuum suction. The physicality of the impression, between fleeting coincidence and violent pressing, brings to mind associations of bondage practice. Rope loops whose pliability and twisting are reminiscent of ornamentation as in heraldry. The polymorphic transformation of the industrial foil is a hybrid of image and sculpture. The different light reflections make the traces of the inscription of a quasi 3D-indexicality by compression visible. – Julia Freiboth
The work "Nude" is simultaneously an image, an abstract wall object and a concept. The rectangular shiny, slightly curved surface has a proportional inlay in the upper third. The absurdity of color - a shade between apricot and salmon - and materiality increases the irritation, starting a game of associations: Which body part do we see? Is the object skin? Nudity as a topos of western art history is reinterpreted, fragmented and put on display. The question of Akt or nackt in German is formalized in a comic yet sensual way. – Julia Freiboth
The multi-part work "self-dimensions, stage I-XII" is an expansive site-specific installation. At eye level, centrally deformed mirror metals hang on chained ribbed metal modules. The rectangular high-gloss metal sheets are deformed concave and convex, respectively. The different bumps reflect kaleidoscopically in all directions. When walking through the installation, light and space are thus distorted, triggering the impulse of the viewers to interact. The portrait format invites or seduces the viewer to play with his or her own reflection. The abstract image refraction deforms their own mirror image effectively. The works allude to the complexity of the self, as well as the omnipresent image culture of the selfie. The recipient becomes the image and immerses him- or herself in the various levels of space and self-perception. The reflections are not sensed as deficient but as infinitely expanding. — Julia Freiboth
"hybridization, variation I" is a reflective floor sculpture with sharp, irregular edges. The flame-like form hovers at ankle height above the floor. Multiple layers of mirror metal reveal an abstract interior drawing with curved lines, spills and hooks. The work's title comes from biological language and means a crossing or mixing of previously separate things. The starting point of the object is a piece of tree bark, which was first apprehended with sketches, then digitally traced, following a dystopic idea: Can plants protect themselves from human access by means of protective armor or weapons? The work "hybridization, variation I" arose from the examination of the concept of the Anthropocene - a new geochronological epoch, in which humans have become one of the most important influencing factors on the biological, geological and atmospheric processes on earth. — Julia Freiboth
The photo series „hermonite, species I-V“ shows a genus of hairy creatures staged against a neutral background. The title „hermonite“ is a word created from the term „Ammonite,“ an extinct animal species, as well as a play on the word ‚her‘.
The animal-like protagonists consist mainly of hair of different colours: blonde, grey, brown, black and red. Their spine is composed of curved and crossed braces. — Amelie Solar-Lozier