False Relics –
Domestic Rituals of Control
False Relics is a still life about the illusion of control — about trying to maintain order and security even though we may already have reached a point where much of it can no longer truly be controlled.
At the centre is a covered fan: an object made to move air, cool a room, and make heat bearable. Wrapped in plastic, it becomes passive — preserved and suffocated at the same time.
The painting unfolds like fragments of an ambiguous domestic ritual. The scene feels familiar, but its logic is unstable: comfort becomes containment, protection becomes distance, and the promise of control begins to fail.
What remains is not an explanation, but a quiet sense of control slipping away — a world still arranging itself while its systems begin to fail.
False Relics / Falsche Reliquien
Oil on canvas
80 × 60 cm
2026
EVERYTHING
UNDER
CONTROL
FOR NOW,
IT HOLDS
THE ROOM
STILL
BEHAVES AS
EXPECTED
PROTECTION
CLOSES IN
COMFORT
HAS TO BE
MADE
THE SYSTEMS
STILL
WORK...
ALMOST
THE HEAT
OUTLASTS
US
NOTHING
HAS
HAPPENED
YET
THE ORDER
BEGINS TO
TILT
Sack und Asche – Inner Landscapes of Fragility and Change
![]()
![]()
How it all began...
![]()
Along a path through a field, I found heavy fabric sacks
– faded shapes against the green, left behind,
their insides concealed, as if guarding something quietly of their own.
Foreign bodies in the grass – silent witnesses of the Anthropocene.
They fascinated me because they did not remain mere waste, but raised questions: Who had brought them? Why exactly here? What do they contain – materially, symbolically?
In the studio they shifted from found object to image.
As I lingered on the question of why they held my attention,
their everyday character seemed to dissolve.
They became signs – projection surfaces for what otherwise finds no place.
![]()
Thus they found a place within my interior – not as objects of the outer world, but as mirrors of inner states.
They stand for what has been set aside, what we no longer need, yet still carry within us.
From this reflection,
I imagined my own ICH-RAUM:
a space where the bag faces the mirror, not as a fixed image,
but as a self in flux – fractured, fragile, ever-changing.
![]()
![]()
The mirror might not return a fixed image – it exposes the instability of the self.
For me, it is less a surface of reflection than a threshold – between clarity and distortion, between presence and absence.
A still life followed, in oil, my medium of choice. Long devoted to the unspectacular, it now gives dignity to the plastic bag – no longer waste, but transformed into still life.
What remains is a question: how do we bear what weighs on us – not repressing, but rearranging; giving the transient a brief duration.
Sack und Asche I – Mirror Without Answer
Oil on canvas
80 × 100 cm
2025
![]()
![]()
![]()
![]()
Sack und Asche II – Broken Order
Oil on canvas
80 × 100 cm
2025
![]()
![]()
![]()
Sack and ashes,
trace and time.
Everything fades,
yet still stands by.
What moves grows
lighter in space.
Weight turns to memory,
dust to a dream.
How it all began...
Along a path through a field, I found heavy fabric sacks
– faded shapes against the green, left behind,
their insides concealed, as if guarding something quietly of their own.
Foreign bodies in the grass – silent witnesses of the Anthropocene.
They fascinated me because they did not remain mere waste, but raised questions: Who had brought them? Why exactly here? What do they contain – materially, symbolically?
In the studio they shifted from found object to image.
As I lingered on the question of why they held my attention,
their everyday character seemed to dissolve.
They became signs – projection surfaces for what otherwise finds no place.
Thus they found a place within my interior – not as objects of the outer world, but as mirrors of inner states.
They stand for what has been set aside, what we no longer need, yet still carry within us.
From this reflection,
I imagined my own ICH-RAUM:
a space where the bag faces the mirror, not as a fixed image,
but as a self in flux – fractured, fragile, ever-changing.
The mirror might not return a fixed image – it exposes the instability of the self.
For me, it is less a surface of reflection than a threshold – between clarity and distortion, between presence and absence.
A still life followed, in oil, my medium of choice. Long devoted to the unspectacular, it now gives dignity to the plastic bag – no longer waste, but transformed into still life.
What remains is a question: how do we bear what weighs on us – not repressing, but rearranging; giving the transient a brief duration.
Sack und Asche I – Mirror Without Answer
Oil on canvas
80 × 100 cm
2025
Sack und Asche II – Broken Order
Oil on canvas
80 × 100 cm
2025
Sack and ashes,
trace and time.
Everything fades,
yet still stands by.
What moves grows
lighter in space.
Weight turns to memory,
dust to a dream.
Rave Still Life Club CutThe Smile Sacrament
A still life that feels generous at first glance. Some forms read as familiar, others slip out of reach — all arranged with care, yet comfort never fully settles. It carries a night mood without the noise: glowing, staged, quietly tense. What’s offered feels deliberate, almost ceremonial — a still life where symbols stand in for emotion. Rave memory.
The Smile Sacrament
Oil on canvas
80 × 100 cm
2025
![]()
![]()
![]()
![]()
![]()
The Smile Sacrament
![]()
A still life that feels generous at first glance. Some forms read as familiar, others slip out of reach — all arranged with care, yet comfort never fully settles. It carries a night mood without the noise: glowing, staged, quietly tense. What’s offered feels deliberate, almost ceremonial — a still life where symbols stand in for emotion. Rave memory. 
The Smile Sacrament
Oil on canvas
80 × 100 cm
2025
Orbital Offerings - Still Life Series
Orbital Offerings
![]()
With Orbital Offerings,
I merge the classical idea of a still life—where objects are typically motionless and silent—with the literal stillness of space, where sound cannot travel. Although the objects appear to orbit an unseen center, their hush underscores the paradox of being in motion within a realm defined by silence. This interplay between weightlessness, quiet, and familiar forms highlights the tension between traditional notions of “still life” and the boundless, soundless expanse of the cosmos.
By placing a “still life” in the silent void of space, I also invite reflection on what “life” might mean in a realm devoid of sound or typical signs of vitality. The objects—familiar yet seemingly alive as they orbit—underscore the mystery of existence and the possibility of life emerging in places we least expect. This tension between earthly forms and cosmic vastness encourages us to rethink our assumptions about where life can flourish and how it might manifest.
Orbital Offerings
With Orbital Offerings,
I merge the classical idea of a still life—where objects are typically motionless and silent—with the literal stillness of space, where sound cannot travel. Although the objects appear to orbit an unseen center, their hush underscores the paradox of being in motion within a realm defined by silence. This interplay between weightlessness, quiet, and familiar forms highlights the tension between traditional notions of “still life” and the boundless, soundless expanse of the cosmos.
By placing a “still life” in the silent void of space, I also invite reflection on what “life” might mean in a realm devoid of sound or typical signs of vitality. The objects—familiar yet seemingly alive as they orbit—underscore the mystery of existence and the possibility of life emerging in places we least expect. This tension between earthly forms and cosmic vastness encourages us to rethink our assumptions about where life can flourish and how it might manifest.
The Theatre of Excess - Still Life Series
Feast of Folly
Feast of Folly
Oil on canvas
80 × 100 cm
2025
Feast of Folly
![]()
With Feast of Folly,
I transform the classical still life into a theatrical display of distortion and decadence. Swathed in deep greens and rich reds, organic shapes teeter between harmony and chaos, challenging the notion of a tranquil arrangement. Although these forms hint at a sumptuous banquet, their exaggerated presence blurs the line between feast and illusion.
By staging a “still life” that oscillates between indulgence and trickery, I invite reflection on what is truly served before us. Are these extravagant offerings tangible morsels or figments of the imagination? In this tension between opulence and deceit, the painting asks viewers to look twice—reminding us that appearances can be as fluid and malleable as the brushstrokes that define them.
Feast of Folly
Oil on canvas
80 × 100 cm
2025
DESENSITIZATION STATION
We are only twenty years into the “Information Age” - a time of accelerated pace of life, globally interconnected life itineraries, rapidly growing incorporation of technological advancements into our daily routines and an era of unlimited access to any information desirable. Raised in this day and age and a typical member of the Generation X it is my fascination with technology that brought me to focus my research on exploring our connectivity technology - the wireless devices we use and to examine closely their place in the universe of our lives. From an artistic perspective, I believe that there are many aspects of this wireless technology worth investigating. Having always been captivated by the invisible matter around us, I decided to focus on visualizing one essential, though imperceptible to our eyes, feature of wireless technology: its connectivity achieved through electromagnetic fields. I zoom in on the means by which individuals, computers, and local networks are connected to each other and the global Internet-based world. The main aim of my investigation was to create awareness of the ways we view and use technology, and the consequences of such use by offering a scientifically-informed and tangible art piece - which I named The Desensitization Station. The Desensitization Station materializes the electromagnetic field in front of our eyes, provoking critical thinking for an overall more balanced and symbiotic existence in the technology-dominated times of the Information Age.
We are only twenty years into the “Information Age” - a time of accelerated pace of life, globally interconnected life itineraries, rapidly growing incorporation of technological advancements into our daily routines and an era of unlimited access to any information desirable. Raised in this day and age and a typical member of the Generation X it is my fascination with technology that brought me to focus my research on exploring our connectivity technology - the wireless devices we use and to examine closely their place in the universe of our lives. From an artistic perspective, I believe that there are many aspects of this wireless technology worth investigating. Having always been captivated by the invisible matter around us, I decided to focus on visualizing one essential, though imperceptible to our eyes, feature of wireless technology: its connectivity achieved through electromagnetic fields. I zoom in on the means by which individuals, computers, and local networks are connected to each other and the global Internet-based world. The main aim of my investigation was to create awareness of the ways we view and use technology, and the consequences of such use by offering a scientifically-informed and tangible art piece - which I named The Desensitization Station. The Desensitization Station materializes the electromagnetic field in front of our eyes, provoking critical thinking for an overall more balanced and symbiotic existence in the technology-dominated times of the Information Age.
DEVICES UNLIMITED
ACCESS PERMANENT
TRANSMITTION 24/7
SURROUNDED
BY A COMPLEX VORTEX
OF WEAK ELECTRIC
MAGNETIC FIELDS
NO CITY
NO PUBLIC SPACE
NO HOME
FREE OF IT
ACCESS PERMANENT
TRANSMITTION 24/7
SURROUNDED
BY A COMPLEX VORTEX
OF WEAK ELECTRIC
MAGNETIC FIELDS
NO CITY
NO PUBLIC SPACE
NO HOME
FREE OF IT