seleced works
Waldbühne II
2020
Gallery Edition
Edition of 10
print size: 30 x 90 cm
paper size: 35 x 95 cm
framing: 40 x 100 cm
Waldbühne II marks a central point within my body of work.
The photograph focuses on a single, overgrown fragment of a tree trunk, isolated from its natural context and at the same time deeply rooted within it. The panoramic format compels the viewer’s gaze into a horizontal movement, while the motif itself unfolds a quiet, almost sculptural presence.
The work is not driven by narrative, but operates within subtle, surreal layers. It functions through reduction, rhythm, and structure. Light and shadow shape the surface of the trunk without explaining it. The image resists a fixed reading and instead opens itself as a projection surface for perception and memory.
Characteristic of my practice is the balance between strictness and organic restlessness. The central motif appears simultaneously grounded and unstable, still and charged with tension. Within this ambivalence lies my fundamental artistic position: nature is not approached as a romantic motif, but as a formal field in which order and dissolution are inseparably connected.
Waldbühne II stands as an exemplary work of my visual language and forms a point of departure for numerous subsequent works. The photograph functions with equal strength in an intimate format as well as at a larger scale, asserting itself across different spatial situations with the same quiet consistency.
Kräuselwelle I
2022
Gallery Edition
Edition of 10
print size: 40 x 40 cm
paper size: 43,2 x 43,2 cm
framing: 60 x 60 cm
In Kräuselwelle I, I condense my engagement with materiality, time, and surface. The photograph presents an abstracted stone structure, shaped by continuous processes of abrasion along the shoreline. The motif is detached from its original scale and appears as an almost autonomous pictorial surface.
The square format intensifies the formal concentration of the image. There is no clear orientation, no defined top or bottom, no singular focal point. Instead, the photograph unfolds as a visual field in which contrasts, patterns, and textures enter into a precise equilibrium. The black-and-white treatment emphasizes a structural reading and withdraws the surface from any decorative function.
In contrast to Waldbühne II, this work engages less with spatial depth and more with compression and density. The photograph does not operate as a window into space, but as a plane. In doing so, it points more strongly toward serial relationships within the overall body of work: Kräuselwelle I stands as a representative work within an extensive group in which natural processes are translated into abstract, timeless visual systems.
The work does not function as a singular statement, but as the structural core of an ongoing series of motifs and aesthetic investigations. It makes visible that the artistic practice is not driven by individual subjects, but by a consistent and sustained formal position.