Artist Statement

My recent projects explore the relationship between the ornament and the symmetries and repetitions
of industrially manufactured objects. Enlarged and mirrored, symmetrically composed and separated
from the original context, these technical devices develop into objects and sculptures of almost
decorative quality. I find them on research trips to industrial sites, technological architecture or
technical landscapes and transform them by shifts in material, color and proportions.
In this work, I examine the tension between pure functionality on one side and the aesthetic meaning
and quality of forms. I make handcrafted, self-made objects that reveal the traces of their manufacture.

The aesthetic form itself becomes the content of the work, thus formulating a counter-proposal to
assigned functionalities, economic requirements and power structures that are represented in
functional forms. Since these are expressions of a cultural adaptation. Natural forms and properties serve
as a model and source of inspiration for technical development in order to transform them into functional
forms and products. But I submit the objects to a second transformation, in which not nature is transformed
into culture, but functional culture is transformed into aesthetically significant culture.
I try to counteract the contradiction that the designed goods and technical designs of this world
originate from the human sphere, are conceived and manufactured by humans, but have become
estrange to the human being through forms of production, the division of labor and world trade, by
material transformations of the objects, when I translate machine parts into Tiffany technique or
decode transmission gear elements as ornaments.

In addition, the discrepancy between technical perfection and human error is part of my actual work
process, since manual or physical tools and digital workflows confront each other and influence one
another. I combine design techniques on the computer such as 3D modeling, CAD drawing or CGI
with manual production in wood, metal or glass processing and screen printing.
I am concerned with questioning and undermining anchored concepts, forces and hierarchies, such as
the misconception that there is a gender-specific assessment of cultural techniques, that is, to
consider crafting rather as a female trait, and „high brow" art techniques such as painting and
sculpting rather as masculine techniques. Especially against the background of theories that see the
ornamentation of (ritual) objects and the geometric (textile) pattern formation as the actual precursors
and foundations of all visual and fine art.