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Stages of development: Abstract or figurative

1. Mediterranean color streams (Mediterranean Blue)

Watercolored sketches in the open air, are later translated onto large-format canvases in the studio. By zooming into the motif, the palm tree trunk, I gradually arrive at abstraction. In the following, the vertical streams of color running out of the wet areas of the abstracted trunk come into focus.

2. Cuban series (Cuban Red)

Impressions gathered on a study trip to Cuba provide further impulses: the repeatedly recoated Cadillacs (in red and pink) as well as the countless repainted house facades (in rose); with several layers shimmering through: partly crumbled, partly permeated and partly mixed.

3. Traces/Structures of time on canvas (Sri Lankan Green and Earth, Grey & Structure)

The aim is now to create and further develop on canvas, these random products of aesthetic structures, which nature produces over time. The color space is inspired by the jungle of Sri Lanka. The further reduction to a monochrome color space (b/w and earth tones) is intended to emphasize these structures (universal earth structures) even more strongly.

4. Abstract or figurative (Moroccan Turquoise)

"Both: In abstract painting, I am concerned with the energetic impulsive expression with a large brush or palette knife. Figurative paintings to me are about accuracy, with a small fine brush. The figurative enhances the abstract and vice versa. Before I joined the academy of Fine Arts, I have had worked purely abstractly for several years: large-format color compositions. In the first year of my studies, the accent was placed on nude drawing: Realizing the individual 3-dimensional curves of the human body on the 2-dimensional canvas. In the following years, it was a matter of starting from the b&w figure and approaching more and more the abstract colorfulness, with your own themes."

Motivation and choice of motif


At first, natural elements (such as tree bark) are combined with urban artistic structures (e.g. weathered surfaces of walls/floors) to create large-format series of paintings. Then, for the task to 'translate drawing into painting', my inspirations collected in Spain manifest themselves: The Moorish architecture with the beautiful partially weathered ornaments. For example, in the Alhambra in Granada or the Moorish Royal Palace in Seville. At the sight of which my heart always rises. My concern is to represent this 'ancient beauty'. By zooming in on the subject I get to abstraction again.

The right energy

You can see, whether the brushstroke was rather timid or powerful. E.g. if in an abstract, you want to represent a rapid upward movement, you can not do this sitting at the table. The brushstrokes have to be generated in rapid movements from the whole body. As for me: Figurative works require a calm concentration and abstract works a powerful emotion. This can be joyful exuberance or an angry "now more than ever". But in my opinion, every good painting is preceded by an emotion. This energy, whether calmness, joy or power, is captured on canvas.


1. The detailed view: An unusual perspective. A casual, seemingly insignificant motif: in a niche, on a wall ledge, at a corner. Which is highlighted by the enlarged display of the detail on the canvas.

2. The weathered surface: Capturing the beauty of decades-old traces of weathering (such as on an old mosaic floor) with the multifaceted structures on the canvas.

Marks and scratches

This plastic complexity stands for the marks and scratches that life leaves: They show up on the canvas in the form of traces of weathering in rooms where people have lived. 

Empty spaces

I paint empty rooms to invite the viewers to imagine themselves in there: Lingering in the space, contemplating, pausing. Also in the 'abstract space'.


My style is defined by the choice of motifs, the perspective, the format and a detailed finishing of the painted surface. For this individual Art Spatula technique, the paint is applied in many layers and selectively removed again. Besides the spatula, different techniques are applied in wet and dry condition. Thus the lower and upper layers blend together. The multi-layered structures result in a marbled, almost vibrating surface.

My path into art

My path into art led through two art-related courses of studies: A combination of "Culture and Business" and "Graphic Design" (a combination of Art and Business), as well as many years of professional activity in this field (in Berlin, Madrid and Munich). Until I finally studied Art at an Academy of Fine Arts (part-time) and entered the independent artistic field.

The Mediterranean and other cultural areas

The professional and living experience in the Mediterranean contributes to my work: a different culture, a different light, a different architecture, a different color space. Each collection is mostly kept within one color space, based on inspiring study trips: Mediterranean Blue, Moroccan Turquoise, Sinhalese Green, Cuban Red and Universal Earth structures.

Individuality and sustainability

From individual elements - a Greek window arch, a Roman column capital, a Moorish mosaic floor or a Modern white louvered door - I create my own space. Those works are laborious, in research and creation. The complex structures described, almost vibrate on the canvas and symbolize the transience of time: The fugacity, but also the sustainability. I plead for the timeless beauty of old objects.

Working time per piece of art

Rarely a painting succeeds at the first go. Sometimes there is a brilliant plot within a few hours. Sometimes I work on a piece for several months. But on average you can say: From the motif search, the preliminary sketches, the priming, the multi-layered structure, the drying times up to the last brush stroke and finally the application of the varnish - one to a couple of weeks (depending on the size and the complexity). Whereby, I always work on several paintings at the same time. And often this results in a multi-part series.

When the painting is finished

An art piece is finished when, after long-time-contemplations, there is no impulse anymore to change anything in any part of the canvas. Until I am satisfied, it usually takes many steps. And the courage to destroy a good painting (at full risk), in order to have the chance to produce a better one. When the painting is finished, you briefly get a feeling of elation to have created something great. Which quickly evaporates and is replaced by self-criticism, which drives to the next work.


I don't have a specific title in mind when I start painting an abstract out of an intuition. Only at the very end, after the last rework, the title/meaning comes to me. While, I then often have the feeling that my subconscious already knew the result.

The importance of art to me

Art occupies a great place in my life. If I do not have the time/the strength/the leisure to paint at times, I am missing something. In the Arts, everything is allowed; every artist can define his own style. To me, the artistic expression is the free-spirited part of a personality.

Long term goals in my art

Over time, I strive to seek beauty more in simplicity; to filter out the essence of beauty from the complexity of life. And to focus on a more minimalist expression.

The most demanding practice

To be satisfied with your work. And at the same time, never to be satisfied and always to reinvent yourself. To keep on searching.

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