I interrogate surfaces, repetitions and ornamentation and explore their cultural coding. Vice versa This also includes questions about how social and cultural norms inscribe themselves into the environment as abstract patterns.
Whether it is conscious or unconscious, my thoughts and work continuously approach the sphere of cultural identity and questions of inclusion and exclusion. Decoration, form, fashion and supposed functionality are examined with a special focus on internal definitions.

One of the inspirations for my installation „Museum“ was the Victoria and Albert Museum, which I had visited in the beginning of 2010: the extraordinary thing about the museum appeared to be the moving effort to gather humanity under one roof and to present an approach for understanding beyond cultural borders. That these efforts can never be completed makes them even more touching.

These, elements from various epochs can be found in „Museum“: baroque fruit-ornaments made of ceramic, two stools with a ceramic-cover reminiscent of Delftware, a ruff and the photograph „Hosenneger“ (literally: „Pants-nigger“; „Coon“) which refers to the colonial era and the Human Zoos during that time. The photo was taken in the Dresden Porcelain Collection. Depictions of „Coons“ during these times can be mainly found on postcards. The „Coon“ is a racist stereotype describing a black man who tries to imitate the style of the European Bourgeoisie but fails as he „forgets“ to put on an essential part of the out-fit e.g. pants, or exaggerates his elegance to the degree of ridiculousness. These images were supposed to show that the colonized humans could never become members of the European Culture.

But attempts of imitating formalities can be found on the side of the European oppressors too: In the beginning of European porcelain manufacturing, the Meissener Porzellan-Manufaktur started producing vases with Asian patterns or rather what was considered to be Asian patterns at the time. The pseudo-Asian architecture of the Pillnitz Castle near Dresden also reflects the German gaze on Chinese culture.

In 2011 another photo was taken inside the Porcelain Collection – „Untitled“ – this time with a handmade club.
It is a combination of a „Farnese Hercules“-quote and the „Dragoner Vasen“ which are usually situated on that very pedestal. The term „Dragoner Vasen“ originates in the days of Augustus II the Strong who exchanged his
soldiers („Dragoners“) for giant porcelain vases.

So what is the relation between surfaces, patterns and ornamentation and internal definitions that are associated with them? After reaching initial conclusions in the next step I seek to disturb those consclusions by placing them side by side with apparent opposites. With the sewn ruff next to tips used on pastry-bags, made of ceramic, the meaning shimmers between that of the garment from the 16th and 17th century which symbolizes a separation of body and mind and a cream gateau presented on a baking sheet. Abstraction is placed alongside “concretism”, sometimes even trivialization.
Here ties to my formal expression become evident: a subtle character relating to craftmanship that questions the borders between craft and art, the functional use of a „thing“ and its meaning and significance transcending its mere practical use. Where can the border between a commodity and a work of art be found? It is my core issue to re-unite the abstract with the concrete or: to never considered them being separate from each other.