my interest circulates around the concept ‘time’. i focus on living systems and their very own dealing with this phenomenon. to zoom into the fragility and the awe of natural habitats is thereby a core aspect of my research.
in the process of perceiving and observing rhythms appear that lead my doing and create compositions of various forms. they take shape in  repetition of mark making, musical and sound expression, color combinations and (collaborative) hand-makings.
in order to find the right tool to translate my examinations  i use diverse media such as drawing, painting, printmaking, sculpting and murals. building site specific installations or interventions in space more and more becomes a focus point in my practice.
to collaborate with other artists, architects and musicians in joint projects, on specific locations, for a performance or an interactive action alongside my studio practice is essential to me. those collaborations can take place in a ‘white cube’ setting as well as outdoors, in abandoned buildings, at the kitchen table an artist residency space, in studios (…).
i enjoy passing on knowledge as well as perceiving progressive re-actions.

a collection of stories and extracts of other people’s quotes that trigger my imagination:

diderot, ‘d’alemberts traum’, 1769
chaque animal est plus ou moins humain, chaque minéral est plus ou moins végétal, chaque plante est plus ou moins animale. il n’y a pas de démarcation nette dans la nature…(…) et vous parlez d’individus, pauvres philosophes ! laissez vos individus !(…)il n’y en a pas, non, il n’y en a pas !…il n’y a qu’un seul grand individu, c’est le tout!

bruce lee
water can flow or water can crash, be water my friend!

james baldwin
music is our witness, and our ally. the beat is the confession which recognizes, changes and conquers time.
then history becomes a garment we can wear and share and not a cloak in which to hide, and time becomes a friend.

byung -chul han ‘rituale’, 2019
(…)’wiederholungen aber stabilisieren das leben. ihr wesenszug ist die einhausung.’

timotheus vermeulen ‘now & beyond’:
(…) a number of thinkers has adopted affect as a strategy not just of deconstruction, but also of reconstruction, as an orientation, or promise, that may alter not only our experience of life, but also ‘living’ itself. those thinkers appear to reclaim for themselves a relationship to an ideal ‘reality’ of unity , coherence and truth that they nevertheless realize is forever beyond their recognition and reach, that they realize cannot exist.

peter sloterdijk ‘kritik der zynischen vernunft’, 1984:
‘je mehr das leben sich absichert, desto mehr wird es virtualisiert, abgeschrieben und ausgesetzt; es wird zu einem potential reduziert, das sich nicht verwirklichen will, da wirklichkeit ohne risiko nicht möglich ist.

victor vasarely , 1959:
“what is the duration of life of a piece of art, even if it is millennia, compared with the space of time of geology or astronomy? but still the light or the warmth which a human is able give off in order to cheer him/herself up or to be touched (even if it is just for a couple of seconds) is all worth the effort. because of the fact that there is continuity we may well be optimistic.’

martin seel ‘eine ästhetik der natur’, 1996:
“die kontemplative naturbetrachtung begreift nichts, sie nimmt alles, wie es gerade ist. (…) sie ist in einer weise auf das besondere fixiert, wie keine literatur, keine dichtung, überhaupt keine kunst es sein kann.””

francesco micieli ‘tagebuch eines kindes – ich weiss nur dass mein vater grosse hände hat’, 1986:
‘im winter kommen die wölfe. sie kommen, weil sie hunger haben. dann fressen sie die schafe. in unserem dorf gibt es einen armen bauern. der hat einen grossen hunger. er frisst alles. auch die wölfe.’

klaus kertess ‘drawing desires’ in ‘terry winters’ , catalogue by lisa phillips, whitney museum of american art, 1991:
‘in his empowerment of the hand and individual touch as well as in his emancipation of the nature of his media, winters has propagated a personal culture that becomes metapersonal. He has embraced the sensual disorder of our mental processes and accepted the ephemeral absences and muscular doubts of secularity. He has drawn a universe of desires knowing full well that his cosmogony is a fable. But one that sustains.’