How do you describe your own art practice?
My artistic practice is centered around photography, and expanded by a collage of diverse methods and mediums that I combine to delve into the essence of imagery and its construction. Through my creative process, I use a range of techniques including analog photography, digital manipulation, and animation, alongside the crafting of physical objects, installations, and textual elements. Beyond the act of image creation, I place significant emphasis on their presentation and aim to offer multiple viewpoints. I believe that the form through which we encounter images profoundly shapes our experience, whether it’s through a spatial exhibition or within the pages of a book, each offering a unique perspective and narrative.
Which question or theme is central in your work?
I explore the world through images, delving beneath surfaces to uncover hidden depths. My work embraces ambiguity, questioning binary views and embracing paradoxes. Drawing from my background in software engineering, I dismantle and reassemble images like pieces of code, creating collages that transcend their origins. This process extends beyond photography into various media, aiming to challenge traditional boundaries and invite diverse perspectives through co-existing viewpoints. I seek to spark a dialogue between the image and the viewer and explore how images interact with our individual perceptions, fostering a shared understanding of our unique and collective perspectives.
What was your first experience with art?
When I was a child, my late uncle, a painter residing in Berlin, left a profound impact on me. His apartment was simultaneously his art studio, drenched with the scent of turpentine and splatters of oil paint covering the floors. Every inch of the walls, from bottom to top, was decorated with his vivid paintings depicting fantastical creatures and faces. Alongside these artworks hung a collection of intricately hand-carved wooden masks, that he had gathered during his worldly travels. I can still recall the eerie yet captivating sight of these peculiar faces gazing down at me late at night as I tried to fall asleep on a makeshift mattress in his living room. Those faces, simultaneously frightening and fascinating, etched themselves deeply into my childhood memories.
What is your greatest source of inspiration?
I am intrigued by our subconscious, and while observing the world around us, I find inspiration in various ways. It can be as simple as a delicate play of light or a certain atmosphere, or as complex as philosophical questions. I love books and movies, especially science fiction. My mind is fueled by these impressions, creating rich inner worlds and dreams. These thoughts and visuals seamlessly integrate into my projects, sometimes directly and sometimes more subtly. For example, my multimedia project ‘Cosmic Stream’ draws from a plethora of daydreams, introspective voyages, and literary elements. On the other hand, ‘Nachtluftschlösser’ was born entirely from a vivid dream I had.
What do you need in order to create your work?
I often find myself needing different tools and resources depending on the task at hand, though I prefer to keep things simple and use what is available to me in the moment. My approach is resourceful, involving a series of steps that include shooting and editing images, constructing objects, and contemplating – in no particular order. Throughout this process, I focus inwardly, fully absorbed in the task at hand, with analysis and adaptations in constant cycles. What I appreciate about this method is its adaptability—I can work with minimal setup and time, gradually refining my work in small increments. It’s akin to sketching, where I experiment with ideas using whatever circumstances and materials are at my disposal. Over time, these sketches become the finished work.
What work or artist has most recently surprised you?
I was fascinated by Sarah Cwynar’s latest exhibition at FOAM and her bold, colourful collages in which she explores themes of consumer culture, materiality, and the ways in which images shape our perceptions.
I also found Jochen Lempert’s recent exhibition at Huis Marseille very captivating. His ability to blend art, science, and natural history in a poetic yet concise manner resonated with me. I was particularly taken by the tension I found in his seemingly intuitive, but meticulous presentation: The images, casually hung on nails, were thoughtfully placed and invited the viewer to appreciate the beauty of the natural world and its fleeting, subtle moments.
