Title: imitations, position I–VIII
Year: 2022
Material: shrinking tube, PVC, concrete
Dimensions: 180 – 250 cm
Imitations is an installation whose components appear at first glance to be massive, enlarged versions of thorn plants. In their original state, the thorns on the branches of the plants serve as protection against predators. As dense undergrowth, the plants create natural barriers in the landscape, making certain areas inaccessible and thus providing shelter for smaller organisms. However, when transformed into man-made, malleable material, they lose these properties. They become objects consisting of a fine, elastic skin with cavities inside. What remains are empty shells of synthetics that provide a shaded imitation of a landscape while a silhouette of their defensive properties is preserved.
Title: sacrifice
Year: 2023
Material: silkscreen print on silicon
Dimensions: 120 x 240 cm
The installation “soft-edges” focuses on the interaction of failed defences. The starting point of the work series “resistance” is defensive architecture, which describes social control in public space through the means of architecture or design. Defensive architecture is used to control who is allowed to be where in public space and who is not. This limits the
promise of the city as a living space for a heterogeneous population with its diverse lifestyles. The individual ceramic elements are positioned on the ground and/or formed into columns. The elements are fragile and have forfeited their defensive function. The result is a completely unique space that transcends barriers and whose accessibility is called into question. In the work “sacrifice”, a barrier has also been deconstructed; in this case, natural defence mechanisms. An artificially created palm forest is left to its own fate after the closure of the associated hotel complex. The palm tree heads have all been snapped off and the leaves with small teeth lie on the ground like sacrificial offerings. The natural barrier loses its original function and what remains is a visualization of human‘s destructive influence on their environment. The composition of the two series of works as an overall installation opens up a field of tension that confronts the viewer with the question of when barriers represent a sensible protective mechanism - and when they should be dismantled in order to make previously controlled spaces accessible.
Title: resistance, formation I–VI
Year: 2022
Material: ceramic, stoneware, unglazed
Dimensions: inner diameter 34 cm,
outer diameter 92 cm,
each 30 cm high
The starting point of the work series „resistance“ lies in the concept of defensive architecture, which describes social control in public space through means of architecture or design. Benches without a resting surface or metal elements embedded in concrete prevent people from staying longer and potentially exclude certain forms of use and certain people. Defensive architecture is used to control who is allowed to be where in public space and who is not.This limits the promise of the city as a living space for a heterogeneous population with it's diverse concepts and styles of life. The individual elements are positioned on the floor and/or formed into columns.This creates a space of its own, which seems to separate itself and whose accessibility is called into question. A spacial experiment: How does the body relate to the installation? Is it viewed from a safe distance or is the space appropriated by dissolving the seemingly clear boundaries?
Title: soft-defence
Year: 2020
Material: ceramic, glazed / unglazed
Dimensions: variable
The multi-part work “soft defence“ 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.
Title: apex, structure I-II
Year: 2022
Material: ceramic, stoneware, unglazed
Dimensions: variable
Title: self-dimensions, stage I–XII
Year: 2019
Material: deformed mirror metal
Dimensions: 60 x 45 cm / scope variable
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.
Title: hybridization, variation I
Year: 2019
Material: laser cut, mirror metal
Dimensions: 70 x 30 cm
"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.
Title: plasticized, impression I
Year: 2020
Material: deformed PVC foil
Dimensions: 44 x 27 cm
"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. We see 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.
Title: hermonite, species I–V
Year: 2017
Material: slideshow, loop
Dimensions: variable
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: grey, blonde, brown, black and red. Their spine is composed of curved and crossed braces.
Title: also, the dichotomy of pragmatism
and perversion
Year: 2017
Material: multimedia installation
Dimensions: variable
The 2017 multi-media installation “also, the dichotomy of pragmatism and perversion” consists of several videos and photographs, which will be displayed as a video sculpture. The center of the installation is a construction of several screens showing a total of five videos. The objects depicted originate from our everyday surroundings, such as a carpet, a smartphone, or a letter slot. They each become the central focus of a performative action that touches the border to of ‚fetish‘. These everyday objects become the sexually-charged fetish element of our consumer world. Several references of the works point to a female perspective of this spatial installation, which confronts the viewer through digital offensiveness.
