Most of my work – painting in an expanded sense, works on paper, digital video – deals with the idea of transformation or process, which in my understanding relates to layers of the ‘self’, to memory, force, time, otherness.
My focus lies in the question of how to approach such ideas and realities visually when the traditionally given frame that held a stable/defined ‘self’ has broken – in favour of the contemporary freedom and complex task of unfolding and inventing the potential of an open, temporal and shifting self with its contradictory, also unknown and dream-facets.
Frequently, I reference historical visual sources (digitally manipulated), which connect in my view to such an understanding of a non-essentialist self at another time in (art-) history. I found it for example in those Renaissance book illuminations, which are concerned with alchemy (depicting stages of psychological metamorphosis) and, in some of my more recent work, baroque paintings dealing in a reflective way with mythological subjects (especially Poussin’s landscapes). For me, dealing with such archetypal material can't mean to repeat or illustrate it but to link into its unredeemed potential, which holds powerful reminders of a not-yet.
My practice reflects the simultaneity of ancient and contemporary influences in a field between the handmade, ‘authentic’ and digital media. It is based on the immediacy of mark making, on fragmentation as marker of time and a calculated input of digital technology; on a ‘state of mind’, both in terms of intellect and feeling, ‘the nerve-wave that gives rise to thought’ (G. Deleuze in Cinema 2).
Outcomes often build series, groups or projects, which allow cross-referencing among paintings, works on paper and digital videos.