The photo series was created during the video screening of a performance in which I myself took part. The photos emerge from a reality that has been performed, recorded, and archived. They represent a multi-layered, sedimented interpretation of the real, an echo of an echo.

The work asks what happens when human experience is structured by algorithms and interpretation of the world is outsourced to non-human systems, to echoes of echoes. The logic of data accumulation contains layers meant to remain hidden. 

The descent into these layers is not metaphorical but political: It leads to places where architectures of algorithmic power are negotiated. Spaces that have become opaque and difficult to contest. It leads to sedimented zones of storage, control, and archiving, where power concentrates and where technological infrastructures quietly reshape social life. The deposits at the bottom of these layers often evade public accountability, even as they transform entire societies. 

Nestled bodies propose an alternative form of sedimentation: They suggest that human connection can generate spaces where algorithmic control cannot fully take hold. Yet such intimacy remains a fragile interstice. 

The four diptychs approach AI not through direct depiction, but through absence, resonance, and linguistic play. The word fragments “information” and “no/on” function as conceptual hinges: in their combination they point to the ambivalence of knowledge production in the age of artificial intelligence, oscillating between affirmation and negation, presence and absence, control and loss of control.

By focusing on these minimal linguistic shifts, the series addresses the instability of meaning itself. Language becomes a site where expectations and anxieties surrounding AI condense—what we want from it, what we fear it might do, and what remains beyond its reach. The diptychs stage this tension visually, turning the viewer’s attention to the fragility of interpretation and the power dynamics embedded in how knowledge is generated, distributed, and withheld.

 

The four works in the series examine the image as a temporal event, as an investigation of phenomena in a state of not-yet. They are conceived less as finished images than as fields of tense anticipation in which meaning is not fixed but anticipated. Color appears as an impact, as the condensation of a moment that cannot be fixed. The works invite us not so much to read them as to linger in a state of tense provisionality, in which meaning remains in the process of emerging.

The coffee sacks used as painting surfaces bear traces of use, circulation, and expectation, and refer to a temporality that is not narrative, but material and vectorial, directed by traces, folds, and imprints that refer equally to past and future actions and states.

The world we live in is increasingly a world of tensions and fractures. Familiar and established orders that give us a certain degree of security and predictability are vanishing, while new patterns, connections and dependencies are emerging. We are living in a world that is simultaneously dissolving and evolving.

The photo series follows the lyrical narrative form of paired verses and explores the tension that arises from the pairing of contrasting images. The series contrasts detailed perspectives of the disappearing world with inhospitable, sometimes surreal surface details of other planets in our solar system from the NASA archives.

Through their symbolism, the selected image excerpts convey varying degrees of emotional and cultural charge, inspiring associations and stories. The deliberately composed image pairs create an elegiac mood that makes the threat of dissolution and the unpredictability of the new tangible. 

Tagebucheinträge aus dem Tagebuch einer nicht-binären Persönlichkeit. In den Einträgen zeigen sich unterschiedliche Erlebnisse und Erfahrungen des nicht-binären Daseins. Dysphorische, ängstlich-bedrückte oder traurig-gereizte Stimmungslagen prägen diese Erfahrungen oftmals. Die öffentliche Debatte zu Nicht-Binarität ist gerne geprägt von Voreingenommenheit, Unverständnis und Nichtwissen. Wer sich beispielsweise nicht nachvollziehbar und wie erwartet als Frau oder Mann benimmt, spürt sofort die Konsequenzen. Geschlechtliche Identität ist jedoch nicht abhängig von oder ablesbar an Äußerlichkeiten, Vorlieben oder Verhaltensmustern. Die Posen der Figuren sind inspiriert von epischen Posen der Kunstgeschichte. 

Diary entries from the diary of a non-binary personality. The entries reflect different moments and experiences of non-binary existence. Dysphoric, anxious and depressed or sad and irritated moods often colour these experiences. The public debate on non-binarity is still often characterised by bias, a lack of understanding and ignorance. For example, anyone who does not behave as a woman or man in a comprehensible and expected way immediately feels the consequences. However, gender identity is not dependent on or readable from outward appearances, preferences or behavioural patterns. The poses of the characters are inspired by epic poses from art history. 

This series of drawings explores the theme of boundaries. It is a work in progress. Two series, each consisting of four drawings, are complete. Two additional series are planned: one in which the boundaries of surfaces intersect, and another that focuses on the permeability of boundaries.

Boundaries permeate spaces—both private and personal spaces, as well as public spaces. They can be visible and invisible, material and conceptual. They mark transitions, separating and connecting at the same time.

The space in which we live shapes our perception, our movements, and our sensibilities. At the same time, we shape it through our actions, our memories, and our imaginations. In this interplay, boundaries emerge as lines of orientation, as places of protection, but also as zones of limitation. The line becomes a breathing membrane between the self and the space. It is at the same time an experiment on the sovereignty of personal space, on the relationship between human and space. The boundary appears not only as a separation, but as a sensitive interstice, a place where inside and outside, closeness and distance, touch one another. 

The drawings propose the thesis that we inscribe ourselves into space through and across boundaries.

 

Each approx. 21 x 29 cm

Chalk, pastel chalk, colored pencil on handmade paper

 

Today, the debate about identity and belonging is a complex and per se open matter. Nevertheless, or perhaps precisely because of this, simple attributions and polar categories are often used to radically limit and exclude this very openness. However, moving in such a diverse field requires the necessary courage and the ability to endure contradictions and contradictory aspects and to deal with them in a constructive manner. It takes the courage to keep things in limbo, in the unknown and unresolved. The photos in the series, all self-portraits, show the fears and pain of this confrontation. Wandering between worlds takes energy. Being displaced, be it concrete physical displacement or identity-related dislocation, is a tough undertaking, exhausting and a challenge both physically and mentally. The photos of the series show tense moments of being in-between and traces the tension and irritation that arises in spaces of transition and is often overlooked or swept under the carpet as society likes us to be strong, especially in phases of transition. The series is made up of 6 photos. 12c pigment print. Numbered series of 1 to 10 prints. 30x40 cm.  

Our present is shaped by parallel worlds that, like echo chambers, affirm their own existence. These worlds do not truly engage in dialogue with one another; they merely share the same space. The series ParallelWorlds translates this social fragmentation into a material collage of acrylic and jute threads. It is an attempt to make our contemporary inability to engage with one another aesthetically tangible.

The works reject visual reconciliation. The disparate elements, synthetic paint and raw jute threads, coexist on handmade paper in a state of silent, permanent separation. A coexistence in which different materials by-pass-each-other. There is no synthesis, no genuine encounter, and no productive friction. Enclosed within the closed system of the object frame, the works reflect a social reality in which differing worldviews coexist side by side, without any real interest in forming a genuine connection.

 

33 x 43 cm (including frame)

 

Acrylic paint and jute on handmade paper, framed in object frame

In the pieces of this series, untreated jute meets vibrant colors and felted wool. The fibrous forms are reminiscent of organs, nerves, hair, fungal mycelium, prosthetics, or alien tissues, without being clearly definable as any one of these forms. They are neither entirely organic nor unambiguously synthetic. Rather, they give rise to intermediate forms and materialities in which nature and technology, body and environment, interior and exterior merge into one another. The works explore the body beyond familiar boundaries.

The series conceives of material not as a passive carrier of meaning, but as an agent of ongoing becoming. What emerges is not a body in the classical sense, but a speculative biology of the in-between. The body reveals itself as a provisional conglomerate of biological, technical, material, and affective relationships that is constantly changing, connecting, expanding, and generating its own boundaries.

Brief instructions for action are an integral part of the works. Oscillating between play, ritual, poetic instruction, and thought experiment, they function as protocols for an alternative relationship with matter, the body and the environment.

The two works explore the fragility of notions of strength within the tension between vulnerability and performative self-assertion. Between the raw materiality of the jute and the vibrant colours, strength appears not as a stable category, but as a fragile, fraying surface.
 The works resist unambiguous interpretation. The coarse weave evokes both a protective skin and vulnerability, archaic images of the body as well as social constructions of resilience. Supposed control gives way to dissolution, order to fragmentation.
 The material itself becomes the bearer of a fragile identity, vulnerable, overstimulated and riddled with contradictions. Strength as a concept is not defined, but constantly renegotiated.

 

Untreated jute; acrylic paint; cable ties; metal ornament; ribbon - Used, cut-open jute sacks; signs of wear and loose thread ends

 

Appr. 110 x 50 cm 

 The series of two paintings takes up a motif of medieval Christian sacred architecture, a human head, usually male, around which plant branches entwine, originating in its open mouth. A hybrid of human and plant emerges. This motif is often found in many different forms carved in stone or wood on medieval churches and may well evoke memories of a pagan forest god who represents a symbiosis of man and nature. Inspired by Louis Weinberger's series of skeletal Green Men, what comes out of the mouths of the two Green Men today is not good for nature. After all, they are man-made things, cutlets made of plastic bags and packaging and aluminium foil, which rather promise disaster and death for nature. What was once a relationship that could be idealised has now given way to an attitude of de-naturalisation, that no longer wants to be idealised and manifests itself in merciless overexploitation and overuse. 

The photo series The Heat of the Future depicts the present in the light of a future reality. Extreme brightness blankets landscapes, beaches and vegetation like a veil of heat. Contours lose their sharpness, colours fade, and spaces begin to shimmer. The landscapes in the photographs appear as foreshadowings of a future that has already begun. Heat is not presented as a dramatic event, but as a field of energy and an invisible force, as a hint of a world in which climate and perception mutually transform one another. Overexposure becomes a symbol of a present in which the future is felt as an atmospheric reality. Heat is not merely a climatic reality, but at the same time, and indeed, more so, a physical experience that alters our perception, our memories and our view of the landscape.

The series of four paintings explores the contemporary human condition between expansion and fragmentation. The impulse toward growth, optimization, and excess operates as an insatiable force, a drive to constantly exceed limits, occupy space, and consume. 

Painted on raw, unrefined jute, vibrant acrylic forms manifest this systemic desire. They pulsate and mutate, demanding space like rogue organisms. The jute becomes the body, the flesh upon which our drives are enacted. Where the flesh is wounded and fragmented, structural breaking points emerge.

The series captures the friction between our innate impulse for limitless expansion and the finite, frayed boundaries of the reality we inhabit, asking at what cost we continue to consume and expand.

 

Appr. 75 x 55 cm

 

Acrylic paint on raw, untreated, used jute, with burn holes