Expressing oneself is an art. My style of expression developed early on towards painting. To process emotions, feelings, impressions and moments, to deal with them, to deal with their “own ego” is probably my inner instinct, which always makes me reach back to brush and canvas. The ability to remember and recall the past is of great importance to ones “self”. Especially to the recurring question to find my own identity. From an early age I had the urge to explore the world and let me be inspired by it.

To form your own opinion. Is not that what matters?

Growing up between mountain landscapes, island life and in cities aroused my fascination with nature as well as the urban. I hold these observations photographically, I act as a tourist in my own life, historian of my being in this world. The images are generated through my visual sensibilities: places I've been to, things I've seen, people I've met. This is my attempt to let past flow into the future.

In my work, I use methods that create a collage by layering and blending different materials. I combine acrylic painting with materials such as reused varnish, earth or mortar. For me the natural materials create, a depth that reflects emotions and ultimately breathes life into my pictures. I experimented for years with reactions of different colors and paints in layers. These react best with acrylic paint, which is why it is the basis of my pictures. Our body is a great asset - so I include this directly in my works by using my hands and feet as a painting tool.

I experiment with both earth tones and intense colors to convey different aesthetic and psychological moods.

In the formation of memory, the processing of received information follows, a generation of an entry, which can then be retrieved. Since this is not only visual, but also haptic, a mere non-textured image by no means contains all the emotional impulses. For this reason, I enrich, emphasize and / or corrupt the works partly in the last layers by using additional coloring and texture.

My pieces do not begin with an emptiness, a nothingness. Although I start on a white canvas, my pictures begin to take from on the first layer using such materials as the mortar or soil. The surface is already alive, there is no beginning, no birth of the image - everything is an additive process. My method is very process-oriented and yet intuitively driven, as I approach the canvas without any given plan. My intention is to keep the work open and alive, in order to give it spontaneity, and free space to grow.

A fundamental aspect are my photographs, which I am constantly collecting. The curiosity for cultures as well as the enthusiasm for the diversity of nature arose from the diversity of the places where I grew up.

I always try to be critical of my work and not only incorporate visual impressions but also social aspects into my art.

My life was marked by positive as well as negative emotions, which are also part of my artistic works. Despite or because of my obvious love for our planet Earth, I feel the constant need to use environmentally harmful materials. Paints, plastic bags or foils are currently highly controversial products. It is by no means primarily my intention to educate the observer about our environmental problems. Rather, I would like to give the observer a way to see the use of these products in order to appeal to the attentiveness of the big picture and problems.

Often I use the bird's-eye view for my photographs, which makes the motif smaller, insignificant and powerless. Buildings, objects and landscapes are minimized and the eye is given the chance to take on the big picture.

Painting is personal, physical and instinctual, it projects what is visible to oneself. My individual perception of the world around me enables me to go below the surface and uncover certain aspects that only reveal themselves to me during the artistic process. Again and again I realized that my perception stands out from the norm, and the unconventional determines my reflection and ultimately my actions.

I enter into a cooperative relationship with the material, it is a back and forth between us. This is an instinctive process in which I reinterpret the work in each phase and in the process react expressively and emotionally charged to what has been created.