I do not see art as an expression of the inner self, but as a tool for understanding the world – as a space for thought, a disruptive impulse and a form of cognition.
My artistic practice began with sculptural interventions in space and increasingly shifted to the photographic image: its effect, its assertions, its suggestions. I am interested in the tension between the longing for narrative and the manipulative power of divine narratives.
Since 2014, I have been recording my work in books – not for the market, but for clarification: as a collection, as a structure, as a form of thought. Texts accompany these books as independent voices, not explaining but questioning.
New music is a recurring theme. Its formal rigour, its abstraction, its play with structure and sound touch me – as does its proximity to visual processes. I observe with curiosity how young artists and composers are working with narratives again today – perhaps on their own initiative, perhaps in response to curatorial expectations.
For me, artificial intelligence is not a tool of simplification, but a dialogue partner – a mirror for questions, frictions and contradictions. Because in the end, art is for me: a critical friendship with the world.