I am a visual artist, and the focus of my artistic work is painting. With my medium- and large-format works on canvas, I explore the emergence of human consciousness.

I understand the painting process as a systematic treatment of all the questions that have always fascinated me: How does individual consciousness arise, and how does it interact with the unconscious? To what extent do memory and remembrance form a manifest framework for perceptual processes and strategies for action? What happens when identity is reversibly damaged or completely destroyed by trauma? And how does the totality of these processes affect the collective and transgenerational level?

I consider the medium of painting an ideal tool for simulating the specific dynamics of identity formation, which are characterized by contradictions.

I understand paintings as analogue storage media. They absorb paint, consume time, and take in energy in the form of physical movement. In this process, information is layered and related to one another (subjective consciousness). The painting is only a fragment of a dynamic process that continues incessantly beyond the boundaries of the canvas (collective consciousness).

While I use painting as a medium for the material realization of my pictorial idea, my own consciousness becomes a resource for the work process. In the act of painting, a significant fragment of my consciousness is projected onto the canvas. This results in works whose layering and specific surface design cannot be reproduced. In the painting as a unique piece, there is an analogy to the unique individuality of each person.

The work process generates seemingly organic fields of events in which abstraction and recognizable signs coexist, interact, and engage in an open-ended exchange: entropic chaos collides with structural order, progressive dissolution meets continuous construction.

In my paintings, I aim to create a perceptual space that is as open to interpretation as possible, allowing for questions, doubts, speculations and even contradictions. I understand my works as gateways to ideas, thoughts and feelings with which viewers can engage.

The creation of a painting as a self-contained, autonomous image is a highly intricate and complex process, unique to each individual image and constantly evolving. As an artist, I guide the painting process by striving to establish standardized routines while simultaneously ensuring maximum experimental openness.

This inherent contradiction often leads to visual dead ends within such a tension, which are frequently followed by new beginnings. Interestingly, the most intense paintings often emerge from the debris field of a failed image. This demonstrates that learning – regardless of any judgment – simply takes place continuously.

My paintings are created without preparatory sketches; they arise organically from the process itself. I strive to create a background that is as complex as possible, posing a genuine visual challenge for me as an artist. Although the painting's surface is usually invisible after completion, it plays a crucial role as a structural element. Sometimes I imagine the background of a painting as its subconscious, which latently and significantly influences the visible surface of the painting, the conscious awareness of the image.

Once the background is created, the next step is to establish a counterpoint, thus creating a systemic equilibrium (or imbalance): I enter into a dialogue with the painting and perceive what it has to tell me. I listen to its questions and try to provide answers through my decisions regarding the painting process.

Far more difficult than beginning a painting is finishing it. Developing a sense for the moment when no more substantial information can be added to the painting is, in my opinion, the most important learning process. For me, the work on a painting is complete when, thanks to its intensity and presence – independent of me as the artist and any verbal communication – the painting is able to engage in an exchange with the viewer.