Fabric isn‘t just something to look at - you can touch it, feel it between your fingers, experience its surface sensually. Textiles have a haptical as well as an optical appearance, they let you experience not only colours and patterns, but also sensual effects. This is why I usually work exclusively with textiles as base material for my work, preferably fabric that has been used for something, so that the traces of usage can become part of my picture. „Painting“ is done by using patches of self-dyed mull in different colour shades, while sowing doesn‘t only fix the mull to the canvas, the thread itself turns into lines that draw their own patterns.
I always start out with the inner feelings of what I am trying to say, and only as the picture emerges and grows does the message become clearer and the final picture appears. This way my work confronts the inside with the outside and forces the beholder to reflect clearer on her or himself. These contrasts, along with the polarity of sensations and the resulting formal tensions, are sometimes quite compelling. The haptic qualities of the material itensify the way people sense and intuitively experience what I am trying to say, expressing my intentions better than any other material. What you can rationally experience versus what you feel with your senses and emotions are the two polarities in everyone‘s life. These polarities provide the basic tensions in my work. The resulting „speechlessness“ is the gap that I am trying to fill with my work.
my work
