My artistic approach are transitions. I watch materials like stone, asphalt, earth in daylight, schadows, created by the movement of leaves, blossoms in the wind: Transistions of fugitive appearances in contrast to concrete materials, poetry consisting in nature in transistion to human creations and forms. These phenomens seem to me like morbid, rudimental moments which appear and seem at the same time to unwind.
My prospect is based on the tension between the surface and it's corporality and I search their transitions between the image and the natural room.


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.

The 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.
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.