“Split Landscape” – Two views of a forest, of a mountain form a picture. And yet it is not a mirror image. If space-time is relative and the earth is unhinged, why should landscape always be linear and horizontal?
Split Mountain, acrylic and oil on canvas, 200 x 300 cm, 2021
Split Mountain (II), acrylic and oil on canvas, 200×300 cm, 2021
Split Landscape I, C-print (digital photo), 90 x 70,5 cm, Edition 5+1, available at https://vtph-editions.com
Split Landscape II, C-print (digital photo), 90 x 70,5 cm, Edition 5+1, available at https://vtph-editions.com
Split Landscape III, C-print (digital photo), 90 x 70,5 cm, Edition 5+1, available at https://vtph-editions.com
Málaga Park
The landscape as an appearance and metaphor of nature, even in its domesticated form of our western world, is like a mirror: a part of us and yet a stranger. We see in it what we would like to see and shape it accordingly . That is the essence of parks – nature, tamed, its horrors removed, leaving only serene beauty. But if you look closely, you can see that there is still a hint of wildness – the park is a double illusion: of nature in its pure form and of our ability to control it.
From the series Málaga Park, C-print, 44,5 x 60 cm, 2024
From the series Málaga Park, C-print, 44,5 x 60 cm, 2024
From the series Málaga Park, C-print, 44,5 x 60 cm, 2024
From the series Málaga Park, C-print, 44,5 x 60 cm, 2024
Cloud project
“Man-made” clouds – a tradition in painting for centuries, from baroque times onwards. In real life, man made clouds stem from power plants – up until today a total of 118 power plants in Germany still use fossil fuels to generate energy and emit emissions in the process. In my project, these cloud paintings appear romantic and peaceful, but the underlying reality is, in fact, not.
52° 29′ 24″ N, 013° 29′ 45″ O (Klingenberg), oil on canvas, 200x 300 cm, 2017.jpg
52° 29′ 24″ N, 013° 29′ 45″ O (Klingenberg), oil on canvas, 200x 300 cm, 2017 (detail1).jpg
52° 29′ 24″ N, 013° 29′ 45″ O (Klingenberg), oil on canvas, 200x 300 cm, 2017 (detail2).jpg
Kraftwerk Mitte, drawing on paper and videoprojection, installation view (Carbon Dreams, Galerie Parterre, Berlin, 2020)
Horizon, Oil on canvas, oil on canvas, 140 x 140 cm, 2012
Cloud Project (Moabit), oil on canvas, 100×110, 2021
Grey Harbour, oil on canvas, 100×120 cm, 2012
52° 16′ 44″ N, 010° 30′ 54″ O (Braunschweig I), oil on canvas, 100×110 cm, 2016
52° 16′ 44″ N, 010° 30′ 54″ O (Braunschweig II), oil on canvas, 100×110 cm, 2016
Cloud project (Duisburg-Walsum, 51°20´29″N, 006°42´53″ O ), oil on canvas, 100 x 120 cm, 2015
49°10´32″N, 9°12´27″O (Heilbronn), oil on canvas, 120x120cm, 2015
Cloud project (Buch), oil on canvas, 110×120 cm, 2020
Forest/Wald
Nel mezzo del cammin di nostra vita mi ritrovai per una selva oscura, ché la diritta via era smarrita.
Ahi quanto a dir qual era è cosa dura esta selva selvaggia e aspra e forte che nel pensier rinova la paura!
Midway upon the journey of our life, I found myself within a forest dark For the straightforward pathway had been lost. Ah me! how hard a thing it is to say What was this forest savage, rough, and stern, Which in the very thought renews the fear.
(From Dante, La divina commedio, Canto I)
Hexenküche, 110×140, oil on canvas,2019
Drachenberg, 170x200cm, 2018.jpg
In a park at dusk, oil on canvas, 110×140 cm, 2021
Red Forest, oil on canvas, 150×150 cm, 2016
Untitled (from the series Wald (Forest), 40×60 cm, oil on canvas, 2010
Untitled (from the series Wald/Forest), diptych, 20×30 cm each, 2017
Untitled, oil on canvas, 20×30 cm, 2018
Untitled, 40×60 cm, oil on canvas, 2010
Notes on an imaginary journey
This series of paintings depicts some of the most desired and far away travel destinations and was inspired by advertisements, travel magazines and books. Travelling to foreign, exotic places has become a natural part of contempary life, taken for granted until the Corona pandemic put an immediate stop to the freedom of movement all over the world. What seemed part of a natural way of living for people of all social classes in Europe, had suddenly been taken away and replaced with a nostalgia for travel and foreign places. But what is it exactly that we long for? Exploring in what way the longing for faraway places is represented by these images, one cannot help realize that the average image of travel destinations comes down to beach, sea and palms. If taken out of their larger context, the images become interchangeable: a beach is a beach is a beach, and our independence and individuality might just be an illusion.
Tahiti (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Maldives (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Dahab (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Banjul (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Costa Rica (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Rurutu (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Jumeira (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Yucatan (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Alanya (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Seychelles (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Bora Bora (from the series Notes On An Imaginary Journey), 20×20 cm, oil on canvas, 2020
Zone In-quiete/Unruhezonen
Untitled (from the series Unruhezonen/Zone inquiete), oil on canvas, 145×200 cm, 2009
Untitled (from the series Unruhezonen/Zone inquiete), oil on canvas, 145×200 cm, 2009