About me

Painting has been part of my life for as long as I can remember. Depending on the stage of my life and the associated opportunities, I have always worked with it. Due to some trenchant experiences around 10 years ago, the focus of my life changed a lot and, in this context, painting did again come to the fore and came back to be an important part of my life.

My work is divided into two very different techniques.

On the one hand, there are the relatively large-format wall reliefs. A special plaster mixture allows me to depict rock walls and formations that I've seen and photographed on my travels using a strong binding primer.

The different heights between the layers of material, complemented by gouache and acrylic, creates the impression of bedrocks. The art and the challenge lies in recreating in the painting the depth of the actual rock wall, which is often much greater. What I find interesting each time is that with every painting comes a moment when I have to put the photo aside, free myself from it in a way and start painting.

All watercolor paintings are created using a completely different technique and different tools.

I wanted to express something I am becoming more and more aware of in my life. It is about the conflict between what I want and what actually is, no difference whether it is my family or friends, for whom I wish health and happiness, or just this red traffic light in front of me that should finally turn green. I made it my task to make this conflict visible with the help of painting.

I have found this technique in which I have relatively little time for the painting to develop. If I manage to listen and see where the painting longs to go, it emerges in front of me, basically without any additions on my part, and everything it shows — the landscapes and creatures, universes, the water and everything else — emerges as if in a maelstrom. But as soon as I wish for something, as soon as I want to direct the painting that is currently emerging in front of me in one direction or the other, this conflict immediately arises. If it exists, I can see it in every one of my paintings. That doesn't have to be a bad thing, not at all, and some of my paintings show a real struggle between listening and wanting something. For me, the nice thing at that for me is that I can make it visible: so to speak, it's an analogy to life put on canvas or paper.