I seek to
give the presence, with its mass of available reproductions,
a lyrical painting trail.
observing the results of tight-net visual impressions, for
me the question arises, of how reality transforms in lieu of
an overflow stimulus environment.
collage works on paper combines passages of pastel painting
with complex photograph arrangements.
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.
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
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.
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.