Etwas Konstruktivistisches und Zutiefst Menschliches, Autonomie der linie, Mehr Atem.

The artist’s work arises from an existential impulse: How can the condition of being human — in its fragility, movement, and inner tension — be captured visually without illustrating it?

This approach is exemplified and condensed in the title of the large painting:

Etwas Konstruktivistisches und Zutiefst Menschliches.

Everything that defines the core of the practice is contained in this phrase: the tension between structure and instinct, between intention and sensation, between order and blur. The works combine a constructive, almost architectural clarity with something profoundly human — an open, breathing, sensitive field of vibration.

Drawing – Autonomie der Linie.

The series of works on paper carries the programmatic title: Autonomy of the Line.

Here, the line itself becomes a thinking subject.
It is not a means to an end, but an actor:
independent, attentive, free.

The drawings are direct protocols of inner movement.
They make perception visible before it becomes form.
No illustration, no narrative — but a visual state, an instantaneous thinking articulated through lines, frictions, and precise gestures.

These works form the origin of the entire practice:
micro-archaeological fields in which sensitivity, intuition, and reflection are inscribed directly.

Painting – Mehr Atem.

The mid-sized formats further develop this approach and bear the title: More breath.

This term signifies not only an aesthetic shift, but also a stance.
In these paintings, the line becomes more atmospheric, the color opens up spaces, the surfaces begin to vibrate.
A field emerges that is wider, more permeable, yet more concentrated.

More breath describes a movement toward greater freedom, toward a softened tension, toward a painting that no longer compresses inner weight but expands it.

A Coherent Body of Work on Perception and Existence.

Taken together, the groups of works express a consistent philosophical attitude:

Drawing as an autonomous space of thought.
The mid-sized formats as expanded, breathing states.
The large painting as a manifesto of the synthesis between structure and humanity.

All the works share the same central question:

How does an image come into being that does not narrate, but exists?
How can perception be made visible without being fixed?
How can spaces arise in which viewers encounter their own sensitivity?