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Excerpts from works 


Embracing one another is an ambivalent undertaking. Nourishing, invigorating and energising on the one hand, it offers security and relaxation. However, if the pressure is too tight, the claim to possession too great, the embrace can become unpleasant, constricting, even a deadly embrace. Coldness, separation and anxiety instead of warmth and being held.

Acrylic colour on unprimed jute, framed in strecher frame 80x100 cm , 2023

My new pet - drone and robodog

Acrylic colour on unprimed fabric, framed in strecher frame

62x62 cm, 2023

Photo series Time machine

Technical progress is turning faster and faster. It could almost make you dizzy, like when you take a ride on a Ferris wheel and it turns and turns, faster and faster, more and more rapidly. In the night. No more ground under your feet. Time blurs, spins, moves. My knowledge and my wealth of experience about technology blur, turn and move. Where will I find myself again?

Photo on iPhone SE (1st generation) , 2022

An apprehension of the disappearance of the human

It is becoming more and more clear that we humans can no longer go on with our accustomed routines. The upheavals in the sociological, technical and ecological environments are too pressing. Will we humans still exist in a few decades? Even if the answer to this question is yes, it is still a question of how. Already today, technical developments such as self-driving cars, self-service checkouts or virtual influencers point to the actual disappearance of the human being. We humans are increasingly being replaced by artificial intelligence, self-learning systems and robotics. But the human is also disappearing in increasing surveillance, control, and in ideologically justified artificial demarcations. Usually we are left alone with our fears and anxieties about the disappearance of the human, but also our anger and rage about it. Who should also be interested in these hardships when technical progress seems so much more exciting and promises more glory?

Acrylic color on unprimed jute, fabric 115x180 cm / 45,28x70,87 inch


Green Man 1 & 2

The series of two paintings takes up a motif of medieval Christian sacred architecture, a human, very often male, head around which plant branches entwine, originating in its open mouth. A hybrid of human and plant emerges. This motif is often found in many different forms carved in stone or wood on medieval churches and may well evoke memories of a pagan forest god who represents a symbiosis of man and nature. Inspired by Louis Weinberger's series of skeletal Green Men, what comes out of the mouths of the two Green Men today is not good for nature. After all, they are man-made things, cutlets made of plastic bags and packaging and aluminium foil, which rather promise disaster and death for nature. What was once a relationship that could be idealised has now given way to an attitude of de-naturalisation that no longer wants to be idealised and manifests itself in merciless overexploitation and overuse.

115x150 cm; 45,3 x 59 inch Acrylic colour on unprimed jute, fabric, paper, aluminium foil, pieces of plastic bags and wrappings


series not named

65x118 cm, Acrylic colour on packaging cardboard, framed in strecher frame


series 3 figures

Even the title of the individual picture refers to a certain indeterminacy with a "maybe". Is it really the figure depicted, as the title would like to suggest? The picture leaves the viewer in this uncertainty and indefiniteness. Who else could it be? It eludes a more precise definition. And thus makes it possible to identify with the figure. Haven't I already been in a comparable situation? What have I done and felt?

It is no coincidence that the pictures are painted on original packaging cardboard. The packaging tapes become as much a part of the composition as the flaps with which the sides of the packaging are inserted into each other. The primed painting ground usual in an artistic context has given way to a reused object of daily use that usually ends up in the waste paper collection. Can a painting on such a ground claim to be art at all, to hang in a collection of high-priced works? Here, too, a more precise determination is not possible. Again, the statement remains vague and the viewer is thrown back on assumptions and conjectures.

from left to right: (1) maybe a Covid protester in Germany (2) maybe a fruit picker in Spain (3) maybe a white person in the United States

44x88 cm, Acrylic colour on packaging cardboard, framed in strecher frame


video borderlands - journeying non-binary land



Mum and Dad promised me that I would be better off than they were. They betrayed me. 1 to 3

acrylic color on jeans fabric, photo snippets, objets trouvés

140x140 cm


the act of penetration I to III

The contact of a body with other bodies creates specific affective-emotional qualities and movement patterns. These can have a positive, supportive character or a hurtful and violent character and refer to social power and domination structures. The act of penetration is an exemplary moment of this exercise of power. The verb penetrate contains a suggestion of a driving force or coercive power, implying a more or less violent act (Merriam Webster online dictionary).
Bodies, beings and groups penetrate the self-determination of other bodies, beings and groups. This happens often uninvited, leading to superiority and subordination, not to eye level and unbiased perception and recognition of mutual needs. Through ritualization and constant repetition of specific patterns of movement, the violent character of penetrating contact becomes part of our body consciousness, anchors itself in the canon of human behaviour and thereby cements social, economic and political power and domination structures.

Diptych, acrylic colour on unprimed silk, packaging film, sewing thread, 70x125 cm + 70x125 cm
Triptych, acrylic color on re-used wooden panels and unprimed fabric, 73x103cm + 56x113cm + 73x103cm
Acrylic color on plastic panel (found object), fabric, aluminium tape, 50x60cm


lost desires series

acrylic color on packaging cardboard
45x74 cm, 101 x 90 cm, 48x105cm


city scapes

acrylic color on packaging cardboard, packaging film
64x84 cm


inphallus series

This series of four paintings originates in an artistic research to queer the image/symbol of the phallus as a way to challenge heteronormativity and argue against normalization. This queering relates to the thought experiment of inverting the image/symbol of the phallus. The goal is to create an alternative image of the phallus. The following questions guide: What would happen if I would invert the phallus and turn it inside out? What picture would emerge? Which qualities would this inversion reveal?
The starting point was a deconstruction of the image of the phallus in a public experimental performance that took place in Vienna at the 18th of December 2019 and lasted for 72 minutes. Such a deconstruction is a procedure that potentially disarranges the discursive regime of heterocentric and androcentric normalization with its categories of thought. In the performance I built delicate and fragile phalli-towers out of small, unshaped pieces of wood. Some phalli-towers appeared stable and grew upwards, giving the impression of stability before they collapsed again, other phalli-towers collapsed quickly. From time to time I recorded my affective-emotional states.
As bricoleur I picked up certain elements of the deconstruction. These elements were (1) the how of constructing small phallus/penis towers out of small pieces of wood and (2) the reference to key aspects of certain affective and emotional tones recorded through the experimental performance. These descriptions were then transferred into semantic fields and laid the foundation for a re-composition of the image of the phallus, which culminated in a series of paintings. I term this alternative image of the phallus an inphallus.

acrylic color on unprimed fabric, packaging tape, fabric
85x140 cm


diagram series

50x90 cm, acrylic on unprimed jute, tape


two series: fields and desires

all appr. 40x40 cm
acrylic and tape on packaging cardboard

Ten wounded souls

wall objects, 10 pieces
ten women who have accused donald trump of groping or ogling them meet 10 animal or plant species on the brink of extinction.

various objets trouvés, materials and sizes



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