In the artistic process, I am interested in exploring femininity, sensuality, and the body and exposing layer after layer, identity, and intimacy.
The impositions of everyday life and its catastrophes inscribe themselves into our bodies. I am particularly fascinated by the discrepancy between old, classical role patterns, and new social roles, gender identities, up to the detachment from gender binarity. But not only the development from one to the other, but their simultaneity. Gripped by the old – either as a claim from outside or within ourselves – our self-image has expanded into new regions. Our own identity seems to be both fixed and freely selectable. This is not only freedom but also an increasing burden that we try to live up to.
As a field researcher, or better, “participating observer,” as ethnology might call it – affected individual as well as an observer – I explore the transformation of the body that agrees with itself (an ideal that can never be achieved in this way) into the social (with all its injuries, its resistance, and its dignity). In my paintings, I try to make these usually invisible, hidden engravings visible.
It turned out that my searching movement in the working process penetrates less from the surface, from shades, colors, and spaces into the depth, but rather the other way around. Guided by the gaze as a contemporary, by empathy and everyday experiences exposed to the same or related adversities in theory and practice, I bring this into the body representation.
As always, the subject is less the main component of the image’s communication than the style in which it speaks about its subjects – whether representational or non-representational.
For me, this corresponds to light, flexible, adaptable media and materials such as charcoal, pastel, graphite, but above all watercolors, among other things on wood-free stone-paper, which allows a gliding, but not always plannable to the last detail.
These media allow me to juxtapose apparent opposites such as tenderness and vehemence, the need for protection and autonomy equally, as they react precisely or fluently, tactfully or clearly, fading transparent or opaque – just as the work on the painting requires in each case.