WORK

• Ikonen ohne Namen-Series
• Fading Life-Series
• Bleach drawings
• Das Gespräch (The Conversation)-Series
• Neue Himmel
• 2. B-SIDE-Series
• Endloses Fluidum (Endless Fluidum)- Series

Harlequin poison frog, Western Colombia, critically endangered (CR), threatened by small scale fire-planting.

This painting is based on a media photo of the Iraq war.

This painting is based on a media photo of the famine in Somalia.

This painting is based on a media photo of refugees on the mediterranean sea.

This painting is based on a media photo of the twin towers on 9/11.

This painting is based on a media photo of the firefighters on 9/11.

This painting is based on a media photo of the terrorist attack in Nizza.

This painting is based on a media photo of the terrorist attack in Nizza.

This painting is based on a media photo of the terrorist attack in Paris.

This painting is based on a media photo of the covid pandemic.

This painting is based on a media photo of the terrorist attack in Nizza.

This painting is based on a media photo of the covid pandemic.

This painting is based on a media photo of the covid pandemic.

This painting is based on a media photo of the firefighters on 9/11.

This painting is based on a media photo of the famine in Somalia.

This painting is based on a media photo of refugees at the mediterranean sea.

This painting is based on a media photo of refugees on the mediterranean sea.

This painting is based on a media photo of the womenprotests in Iran.

This painting is based on a media photo during the covid pandemic.

This painting is based on a media photo of the refugees on the mediterranean sea.

This painting is based on a media photo during the covid pandemic.

This painting is based on a media photo of the women protests in Iran.

This painting is based on a media photo of the women protests in Iran.

This painting is based on a media photo of the women protests in Iran.

This painting is based on a media photo during the covid pandemic.

This painting is based on a media photo of the famine in Somalia.

This painting is based on a media photo of the umbrella movement in Hong Kong.

This painting is based on a media photo of the umbrella movement in Hong Kong.

This painting is based on a media photo of the umbrella movement in Hong Kong.

This painting is based on a media photo of a refugee ship on the mediterranean sea.

This painting is based on a media photo of the Iraq war.

This painting is based on a media photo of the famine in Somalia.

For quite a while now, I have been looking for ways to reuse the dried paint residues from my acrylic paintings as raw material for other works (many attempts have so far been unsuccessful).
While removing the residues, I was often fascinated by their backsides. As I utilise ordinary plates as a palette, these residues automatically have a round shape, thus reminding me of petri dishes.
Over the course of time, I have now developed a method to make those leftovers usable.
In this series, the paint residue is used as a free form and color element on the canvas.

For quite a while now, I have been looking for ways to reuse the dried paint residues from my acrylic paintings as raw material for other works (many attempts have so far been unsuccessful).
While removing the residues, I was often fascinated by their backsides. As I utilise ordinary plates as a palette, these residues automatically have a round shape, thus reminding me of petri dishes.
Over the course of time, I have now developed a method to make those leftovers usable.
In this series, the paint residue is used as a free form and color element on the canvas.

For quite a while now, I have been looking for ways to reuse the dried paint residues from my acrylic paintings as raw material for other works (many attempts have so far been unsuccessful).
While removing the residues, I was often fascinated by their backsides. As I utilise ordinary plates as a palette, these residues automatically have a round shape, thus reminding me of petri dishes.
Over the course of time, I have now developed a method to make those leftovers usable.
In this series, the paint residue is used as a free form and color element on the canvas.

For quite a while now, I have been looking for ways to reuse the dried paint residues from my acrylic paintings as raw material for other works (many attempts have so far been unsuccessful).
While removing the residues, I was often fascinated by their backsides. As I utilise ordinary plates as a palette, these residues automatically have a round shape, thus reminding me of petri dishes.
Over the course of time, I have now developed a method to make those leftovers usable.
In this series, the paint residue is used as a free form and color element on the canvas.

For quite a while now, I have been looking for ways to reuse the dried paint residues from my acrylic paintings as raw material for other works (many attempts have so far been unsuccessful).
While removing the residues, I was often fascinated by their backsides. As I utilise ordinary plates as a palette, these residues automatically have a round shape, thus reminding me of petri dishes.
Over the course of time, I have now developed a method to make those leftovers usable.
In this series, the paint residue is used as a free form and color element on the canvas.

For quite a while now, I have been looking for ways to reuse the dried paint residues from my acrylic paintings as raw material for other works (many attempts have so far been unsuccessful).
While removing the residues, I was often fascinated by their backsides. As I utilise ordinary plates as a palette, these residues automatically have a round shape, thus reminding me of petri dishes.
Over the course of time, I have now developed a method to make those leftovers usable.
In this series, the paint residue is used as a free form and color element on the canvas.

For quite a while now, I have been looking for ways to reuse the dried paint residues from my acrylic paintings as raw material for other works (many attempts have so far been unsuccessful).
While removing the residues, I was often fascinated by their backsides. As I utilise ordinary plates as a palette, these residues automatically have a round shape, thus reminding me of petri dishes.
Over the course of time, I have now developed a method to make those leftovers usable.
In this series, the paint residue is used as a free form and color element on the canvas.

For quite a while now, I have been looking for ways to reuse the dried paint residues from my acrylic paintings as raw material for other works (many attempts have so far been unsuccessful).
While removing the residues, I was often fascinated by their backsides. As I utilise ordinary plates as a palette, these residues automatically have a round shape, thus reminding me of petri dishes.
Over the course of time, I have now developed a method to make those leftovers usable.
In this series, the paint residue is used as a free form and color element on the canvas.

Lau banded iguana, Fiji (Lau islands), endangered (EN), threatened by habitat loss.

American burying beetle, USA, critically endangered (CR), threatened by industry-expansion (petrol + gas).

Rainforest chameleon, Madagascar, endangered (EN), threatened by habitat loss (due to agriculture and logging).

European eel, Europe and North Africa, critically endangered (CR), threatened by over-fishing.

Moss species, China, India, Nepal, Aleutian islands, vulnerable (VU), threatened by habitat loss.

Kaka beak, New Zealand ( North island), endangered (EN) due to grazing pressure by cattle and wildlife.

Crocus-species, Cyprus, vulnerable (VU), threatened by fire.

Harlequin poison frog (Oophaga histrionica), Western Columbia, critically endangered (CR) by small scale fire-planting.

Discocacts pseudoinsignis, Brazil (Minas Gerais), endangered (EN) by industry expansion (quarrying).

Carpenter ant (Camponotus universitatis), France, Germany, Switzerland; Italy, Albania, Bulgaria, Turkey. Vulnerable (VU): threatened by habitat loss.

Rwandan waterlily (Nymphaea thermarum), Rwanda. Extinct in the wild (EW) due to habitat loss (the feeding thermal well was cut off by construction works).

Tadpole shrimp (Triops gadensis), Spain (Mainland). Endangered (EN) by pollution (agriculture pesticides).

Eisenia earthworm (Eisenia anzac), Japan. Critically endangered (CR) by habitat loss.

One of my inspirations is the journey back to the origins of words and objects. These journeys into the past, which lead me through so many countries and cultures, show me the amazing depth and complexity of the everyday present „ordinary“, which seldom is as ordinary as it seems on first glance.
On those journeys I learn as well how the meaning of words can change over time, how fluid a language is. To experience these changes is often an eye-opener and very enriching.
In this series, I want to depict the fluidity of language visually. Etymological studies of the origins and history of words serve as my basis for this.

One of my inspirations is the journey back to the origins of words and objects. These journeys into the past, which lead me through so many countries and cultures, show me the amazing depth and complexity of the everyday present „ordinary“, which seldom is as ordinary as it seems on first glance.
On those journeys I learn as well how the meaning of words can change over time, how fluid a language is. To experience these changes is often an eye-opener and very enriching.
In this series, I want to depict the fluidity of language visually. Etymological studies of the origins and history of words serve as my basis for this.

One of my inspirations is the journey back to the origins of words and objects. These journeys into the past, which lead me through so many countries and cultures, show me the amazing depth and complexity of the everyday present „ordinary“, which seldom is as ordinary as it seems on first glance.
On those journeys I learn as well how the meaning of words can change over time, how fluid a language is. To experience these changes is often an eye-opener and very enriching.
In this series, I want to depict the fluidity of language visually. Etymological studies of the origins and history of words serve as my basis for this.

One of my inspirations is the journey back to the origins of words and objects. These journeys into the past, which lead me through so many countries and cultures, show me the amazing depth and complexity of the everyday present „ordinary“, which seldom is as ordinary as it seems on first glance.
On those journeys I learn as well how the meaning of words can change over time, how fluid a language is. To experience these changes is often an eye-opener and very enriching.
In this series, I want to depict the fluidity of language visually. Etymological studies of the origins and history of words serve as my basis for this.

One of my inspirations is the journey back to the origins of words and objects. These journeys into the past, which lead me through so many countries and cultures, show me the amazing depth and complexity of the everyday present „ordinary“, which seldom is as ordinary as it seems on first glance.
On those journeys I learn as well how the meaning of words can change over time, how fluid a language is. To experience these changes is often an eye-opener and very enriching.
In this series, I want to depict the fluidity of language visually. Etymological studies of the origins and history of words serve as my basis for this.

One of my inspirations is the journey back to the origins of words and objects. These journeys into the past, which lead me through so many countries and cultures, show me the amazing depth and complexity of the everyday present „ordinary“, which seldom is as ordinary as it seems on first glance.
On those journeys I learn as well how the meaning of words can change over time, how fluid a language is. To experience these changes is often an eye-opener and very enriching.
In this series, I want to depict the fluidity of language visually. Etymological studies of the origins and history of words serve as my basis for this.

One of my inspirations is the journey back to the origins of words and objects. These journeys into the past, which lead me through so many countries and cultures, show me the amazing depth and complexity of the everyday present „ordinary“, which seldom is as ordinary as it seems on first glance.
On those journeys I learn as well how the meaning of words can change over time, how fluid a language is. To experience these changes is often an eye-opener and very enriching.
In this series, I want to depict the fluidity of language visually. Etymological studies of the origins and history of words serve as my basis for this.

One of my inspirations is the journey back to the origins of words and objects. These journeys into the past, which lead me through so many countries and cultures, show me the amazing depth and complexity of the everyday present „ordinary“, which seldom is as ordinary as it seems on first glance.
On those journeys I learn as well how the meaning of words can change over time, how fluid a language is. To experience these changes is often an eye-opener and very enriching.
In this series, I want to depict the fluidity of language visually. Etymological studies of the origins and history of words serve as my basis for this.

Experiments with the alteration of magazine cutouts: changing the color of the sky or making a landscape out of something totally different.

Experiments with the alteration of magazine cutouts: changing the color of the sky or making a landscape out of something totally different.

Experiments with the alteration of magazine cutouts: changing the color of the sky or making a landscape out of something totally different.

My bleach drawings are about the personal experiences and moments in life, that leave a lasting impression and often are "branded" in your mind and soul.

My bleach drawings are about the personal experiences and moments in life, that leave a lasting impression and often are "branded" in your mind and soul.