I seek to give the presence, with its mass of available reproductions, a lyrical painting trail.

Closely observing the results of tight-net visual impressions, for me the question arises, of how reality transforms in lieu of an overflow stimulus environment.

The collage works on paper combines passages of pastel painting with complex photograph arrangements.

My photography activities provide me with a repertory of themes, motives and conceptions. The photographs reflect my individual focus while at the same time connect impressions from various image media (cinema, film, television) as observed in movement and then captured by the eye of my camera. They are the source giving example to the crosses and re-crosses of daily experience.

The consistency in the choice of technical methods allows me to concentrate my energies on varieties of observation. As do mental thout paths organize towards a joint venture, so also do compositional works form. These, however, follow no predestined order:
Here a natural image-room originates, there day and night become visible, or the perspective splits. An art style borrowed from another epoch of painting history may also serve as a recollection bridge. As opposed to classical collages, the photographs are neither cut or sketched upon in my work. Nor do the fotos overlap, extinguishing parts of each other. Instead, I expand their borders and themes by use of colour and line around them. The photographs act as memory-images, locating themselves within the evolving carpet of events.

My decision to work on paper, a light material, underlines the character of my work, defined as life-accompaning notations. The digital print allows the dense-mesh impetus images constantly emerging and showing forward for attention to be instantly acquirable. The synchronic plain brings back the perception of time into the former scope, in wich related structures can again be re(formed) and their origines (re)traced.