All appearances of the empirically perceptible world, at closer examination, turn out to be immaterial. A substance „matter“ was de facto never found. In my work I point to the transient nature of appearances, of the human condition and our life. Transparency is an important feature of my technique.
The Baroque period was a period where great emphasis was put on perfected appearances. Evoking the conventions of Old Master portraits, I soak the canvas with fluid layers of translucent color gradients in vivid pastel tones. Solidity and form break into fluid distortions and render visible the fragility of external appearances as well as an inner vulnerability. In search of an essence I paint “see through versions” of Old Master paintings.
Next to my Baroque series I am involved in renderings of kidult and kawaii inspired imagery–where propagated childlikeness and innocence become a template, essentially turning into their opposite. In a “reverse movement“, I pull these images from the sphere of digital production and glamor to that of handwriting, thus running them through yet another–„my own“–filter and in the process dissolving the figurative. It is the attempt to „test“ implausible, overly stylized formulas, to make sense of shells: The unlikely becomes touching, the unbelievable believable.