My artistic work comprises equally of drawings, installations and sculptures which relate to each other. I
especially focuse on finding “archaic” images of landscape and ideas of paradise which I see as traditional manifestations, simulations and simulacra of landscape and nature and which I artisticly recreate in a distinctively artificial manner. I use my insights from my critical analysis to create drawings, sculptures as well as polymeric models, the latter of which are often being embedded in polymeric resin. These artificial models of landscape aesthetically and formally refer to the representation of preparations and artefacts in Natural History Collections and Cabinets of Wonder. Since the chemically solidified, hermetically closed models of landscapes and objects reject the onthological status of tangibility, the so presented objects – other than the objects of curiosity and artefacts of historical collections – are destined to remain forever untouched. Additionally, the demonstrative synthetic materiality of my modelled landscapes reflect the constructional character of the “archaic” landscape-concept that are defined and constructed differently within the cultural context and, to the day, constitute “our” hyperreality continuously.
For the series "Plopps" I have been working on specific (landscape-)preparations, that simulate a moment, in which the solidification apparently has been put off or has been prevented. Since the rigidity of the objects seems to be interrupted or paused, the viewer gets the impression, that the embedded objects might come back to life or even start growing again. With their new liveliness, they even seem to break through their casing.
For my recent landscape models I have been working with the idea of "assembled landscapes". Therefore I have produced a wide range of nature-fragments. For my collection of natural elements I have built a broad spectrum of prototypes which I have multiplied in a specific casting-process using polymeric materials. This strategy allows me to stretch the idea of landscape conceptions being fragmentary and stereotypical in our societies. My new landscapes are also less concrete than before and open up to a more abstract approach. The play with different, artificial materials and the refraction of old viewing habits is the central point in this work.
Last year I have also started a longterm project called "sich orientieren, das Männchen verschieben, mit der Maus navigieren, ankommen". For this work I regularly visit different places on earth and other available planets via Google Street View. I then create descripitions of details I see, using a rather objective tone. For my installation I print these travel itineries on A4 sheets and place them in a stack into the exhibition area. Visitors can pick up as many copies as they like and even can try to retrace my steps. For me, the play between analog and digital travelling is the key point of this work.
At the moment I am working in the Swatch Art Peace Hotel Residency Shanghai in China. Here I am working on utopian city/nature-conceptions, which – additional to theoretical research, drawings and
objects - ultimately will result in an installation. After spending last year in the countryside of Germany
and working on nature conceptions in a rural context, Shanghai offers me the opportunity to focus on the management of nature and urban life in a fast growing Megacity. For Shanghai I am working with the city management concept “Shanghai 2040”, which proposes some major changes in city planning. Also I am looking into traditional urban concepts. After that I will be in Beijing, working with the publication The Method of Organisation of an Aesthetic Society (Mei de shehui zuzhifa) by Zhang Jingsheng from 1925. In this philosophical work, Zhang proposes the demolition of Beijing and the recreation as an aesthetical garden city. I want to compare this radical idea to current plans, like the vertical forests by Stefano Boerri. Finally I want to create my own, utopian city/nature models, wich will be shown in an installation.