Bodies and forms dominate the full range of my work. I am drawn to contrasting visual attractions. Tracing nature helps me to generate an understanding of things. My resulting artworks are less smooth and include edgy obstacles, they are truly tangible reminiscences of this process. It feels like scratching on a surface to reveal something unexpected, something that confirms the true fact that things are never the way they seem to be. Apparel, casings, scaffolding or walls cover bodies and prevent viewers from seeing what is hidden beneath them. Barriers are increased in their effect the more obvious the covered is visible.
Interruptions, gaps or an empty space make room for ambiguous interpretation. Space and negative space, like depth and illusion, are basic to my formal inquiry. I love to play with fragments, to show interrupted lines or broken bodies. Things can be more mystical than just logical deconstructions of nature. Paint largely materializes the non-physical while common sculptures generate resemblance. Turning things upside down or asking questions about the inside view of casted statues, for example, allows me to think about representing the negative form of objects, while a mold or a framework presents multiple ways to associate and avoid the obvious.
With a pen or brush I concentrate on the process of digging through layers of makeup to reveal hidden constructions. Fragility, the void and the impossible create emotions and less meaning on first sight. My aim is to show the sheer form cushioned in colour and to drag the observer into a moment of action with vividly coated paint. I am driven to bring painting to life with layers of fresh dripping paint. Sometimes painting is like doing a crossword puzzle, it does not matter where you start but in the end, everything has to fit into place. I always work a painting from basis to the top layer, from far to near, thereby working in some ways as a sculptor, throwing materials on top of each other, cutting away the mischief, consequently proofing if the construction is still stable. I want the viewer to empathise with this way of production and feel that the delicate dripping colour is recently painted. The anatomy of my works is sensual excitement packed into concrete bodies.