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