The tension between surface and corporality, the transition between the image and the natural room are the
prospects in my work with paper and with paint (ink, oil paint) on
different grounds (f.i. cotton, burlap, watercolor-, chinese or
As a painter I observe the intensive presence of the paints surface,
it's egdges and lines created by paint or cuts made into white
unprocessed white paper. On large hanging paper installations I open
it's surface which bends on the cuts, rolls, falls partly. I
move alongside the paper to receive various angles to look on the work
and make photographs. The natural daylight peels into the cutted paper,
it's edges and a light based in the material itself becomes visible.
In my last photographic works I intensified my questions on the lines
and cuts which form plane surface into corporality. As paper is not
fixed but moving, the lines of the cuts create partly totally different
images on the paper than the cut created.
different effects of light on surfaces fascinate me. When a viewer's
gaze wanders slowly over objects and surfaces, the fullness of the
surrounding world is reduced to a single fragment. The fragment unfolds
the viewer's gaze to reveal its transitional spaces, such as where a
warm ocher turns into a light gray and then into a reflection of
something green mixed with a blue. Foreground and background are
defined by the overlapping and interpenetration of the viewed space.
is how I observe my environment. The results are photographs, sketches
and light studies, which I materialize in my studio.
I blend and
grind the masses of paint into another on the surface of the canvas. A
collective light emerges in the color. I use oil-based paint, as its
pigments interact in a special and sensual way with the light from the
surrounding space. My objective is to create a physical presence in the
color. I want the space, which gives the illusion of a spatial
representation or a surface, to be tangible, and the light to be borne
by the painting.
Spaces - I observe their silence and
emptiness over a long period of time. I focus on the effect of changing
daylight. Black and white lengths of paper display the light very
purely and clearly, presenting it to the viewer. I open up the surface
of the paper with cuts and tears based on actual moments I have
observed. The paper unfolds to reveal a light from within. A further
space develops and comes into view. The light can plunge into the cuts
and openings. The two-dimensional paper becomes a sculpture. The
wandering daylight and the movement of the viewer cause the space to
unfold in parallel with the paper.
My objective is for the viewers to follow their slow gaze inwards.