On nameless bodies
The series ‚On nameless bodies‘ explores the themes of objectivity and indexicality and its meaning in a post factual world through a collection of works.
Firesale memories - a study
The transition from analog photography to digital led to the ability to directly control color, but also resulted in a homogenization of color. The most widely used color contrast became orange and teal, quickly becoming overused and losing its impact.
After noticing this trend, I became obsessed with it and started seeing it everywhere. Displeased with how this trope had overtaken every form of image production regardless of story, context, or artistic expression, I began collecting these images and rephotographing them.
The ‚Revenant‘ series of sculptures pushes the concept of indexicality to its limits. At the heart of the series is the question: when does something stop being considered a work of art? These sculptures are created mainly from the remnants of artworks by former students who had left the university. They reference what has been lost, both success and failure in the art world, and the boundaries between indexicality and referentiality.
The photographic investigation ‚In its right place‘ was created in a model home park, a curated space and experience that follows certain rules and represents certain ideas of living that feel disconnected from the realities of being an artist.
I became fascinated with the stagecraft used to create the illusion of a lived-in home, with tables set but no food served, and photos hanging on the walls showing models in photoshoots. The shelves were lined with numerous copies of books, such as „The Patricians,“ „The U-Boot War,“ and „Immigration Declined,“ contributing to the curated and alienating atmosphere.
Nearly ten years after producing these images, they still leave a sour taste in my mouth, as the problems they expose – privilege and economic inequality – are still unsolved today. But it’s all „in its right place.“
The photographic performance „Selbstbild / Contest“ explores the relationship between the self and the medium of photography. In this work, I sit in an analog black-and-white passport automaton and try to maintain a consistent facial expression. The performance continues until either the automaton runs out of chemicals and stops producing an image, or I can no longer maintain my facial expression and the performance is interrupted.
c scape, Leporello, 20 x 80 cm, 2016
digitally painted ocean and clouds