An attempt of localization
I’m interested in painting as something artificial,
in painterly gestures, objects, and states that may appear incidental, yet are constructed and
synthetic
(I refer to synthetic in the way Esther Leslie does in her book „Synthetic Worlds“ (2005),
she writes: „All that exists and can exist is natural, but processes of deriving complex
compounds from reactions produce substitutes, analogues, imitations and duplicates, which,
because of the synthetic operations that bring them into being, seem to remain forever
synthetic.“)
I like to think of painting not as the medium I work with, but as a protagonist
Painting as a medium would be an assistant, but I want to center its agency
I work around the conditions of my practice, be they materially or personally
Painting, and all art in general, frames and constitutes reality, that’s why I`m interested in its
performative qualities
When I think about Performance, I like to consider modes of reception, text and gestures,
performance, parameters of time-based mediums and their connection to non- time-based
mediums, that I can find in the form of the theater. That brings me to contemplate on writing
as a practice and text as a form. Through using language, I can refer to specific forms of
communication
In language, I find an ambiguity and interdependency of meaning and structure. Through
writing by painting, I can escape the formatting of language into linear and standardized
forms
I use omnipresent colors, motifs and clich s, because they serve best to me for processes of
deconstruction, reformulation and thus can ge- nerate an emancipatory space. I try to
understand my practice as an autotheoretical analysis of the ubiquity of painting and its
politics. That’s why I’m particularly interested in pop-cultural, but also very personal
moments.
My color palette is pastel, it’s often ros  and pink. The implicated innocence and
guiltlessness in my color palette may just be pretence, nevertheless, my work departs from a
feeling of powerlessness.