In my artistic work, I reflect on human thought and action, as well as interpersonal and universal relationships and connections. I do not view different materials and techniques as separate domains, but rather as different approaches towards the same questions.
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At the heart of my work lies an exploration of relationships and their expression through materials, forms and colours. Another aspect is my texts, inscriptions and work titles, which – often ambiguous – expand the visual level to include a linguistic dimension.
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My sculptures  combine white marble with rusty metal – an aesthetic contrast that reveals the tension between transience and permanence. These materials enter into a dialogue that explores the idea of connection, friction and transformation. Engraved inscriptions and accompanying texts expand this dialogue by simultaneously giving concrete form to and questioning ideas.
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In my textile works, I employ an assemblage technique in which I select, combine and relate textile elements. Here, too, it is not merely a question of composition, but of the interplay of colours and patterns that influence, overlap or repeat one another, thereby opening up new spaces of meaning.

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I explore similar questions of perception and connection in my painting. My portraits and still lifes speak of identity, memory, dreams and hope. At the same time, they pay homage to the quiet presence of simple things. I often work with just two objects – a number that holds significance for me – and allow them to interact. Reflections, light and shadow become connecting elements that dissolve the boundaries between things and open up new interpretations.

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This gives rise to an ongoing artistic process in which material, technique and content are not separate from one another, but rather form different approaches to the same fundamental questions: How do connections arise? What separates, what connects? And how does meaning change in the interplay of things?

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