My artistic research projects are usually long-term projects and extend over a period of several years.

I explore natural and architectural spaces, observe natural and architectural phenomena, and find analogies between typologies of these natural and architectural entities. They inspire me to think poetically about the relations between these two spheres of our world, whereby one magically emerges and the other is constructed.

In everything ‘new’ lies what is analog to something already in existence. I believe that human creative expression is ultimately informed by natures gesture and its formal expression. The latter ultimately follows the logic of the planet – a system driven by the complex interplay of causes and effects. My artistic method follows a ‘phenomenological Go-there approach’ in which I never make categorisations of what is looked at. I always look at all buildings, pillars, spaces, vaults, caves, columns, mountains, stumps, trunks, hills, and heaps with the same attention and the same sincerity.

All these things arouse my interest in the same spontaneous, impulsive way. As I look at things with constant indifference, I do not give them any definitions and no truth about what they are. I just look; and in result I can concentrate on how they are – the things I look at. I stay with them in that moment of enduring ‘Being’. It is a kind of looking at things which maybe be described as a mixture of platonic excitement and a stoicism in the sense of an Democritus, without the amazement about seemingly extraordinary things. A kind of indifferent amazement about both; the ordinary as well as the extraordinary.
Going to the beach, documenting what I observe, and transforming it to poetically describe what I felt is how I go about.

My working process undergoes phases of exploration, experimentation, and reflection. At the beginning of a new project, I approach everything openly, joyful, and enthusiastic; everything is allowed; I collect a lot of material, which can be data, photographies, an observation, a thought, and so on.

From this process, artworks emerge – fragments of a bigger whole. Some of the products you can call experiments, others again are autonomous works representing certain aspects of the research subject such as formal expression, spatial qualities, poetic potential, philosophical food for thought, and so on.

Conceptually, I see my working method as ‘collaging’. Thus, my work is an amalgam of observed phenomena, inspiring literature, and own thoughts involving multiple disciplines, putting the known into new contexts to look at space and its constituting elements with a fresh eye.