In 2018 I started working on medium and large format canvases. The results are gestural, almost abstract paintings with sometimes thick, impasto paint applications, but also works that show more details through differently designed graphic elements and thus suggest a figuration.

In the paintings I want to create a visual world that strives for figuration through the use of linear structures, but never clearly defines itself. Linear elements contrast with the painterly background and appear as simple signs that can condense into complex, three-dimensional structures. This creates a narrative that can be read in different ways. The aim is to let entropic chaos collide with structural order, progressive dissolution with continuous construction: the painting process becomes an experiment in which natural processes are simulated.

The drawings are created with classic pen and ink and support me in the later, compositional implementation of the paintings. From my perspective, the drawing process creates a structuring coordinate system that monitors, records, classifies and categorizes data. Therefore, for me, drawing is a cognitive, generally mind-oriented perception process, whereas the painting work process calls up and processes inner-psychic content and phenomena that cannot be precisely named. The drawing creates a visual formula that the painting later takes up. Drawing elements can either be adopted unchanged into the paintings or completely dissolved and thus transformed.

The medium of photography has accompanied me the longest compared to painting or drawing. For me, the photographic process is an active contact with the outside world. Taking photos means combining attentive viewing with maximum concentration and the best possible openness. The absorption of image information is always a mental process and an attempt to interpret, classify and understand what is perceived. Creating a photographic image is a process of appropriation; it means integrating defined sections of the world or the respective environment into one's own life. The photographic intervention transforms unfamiliar objects and spaces into familiar image information that can later be integrated into the media of drawing and painting.