Eleventh Hour Painting

I study perception, bias, memory and filtering. As a psychologist I am conscious of the information processing involved in perception and memory. I work with the ever-changing recollections and filters that we consciously and unconsciously superimpose on our memories. I make filters visible. I distort colors, I warp forms. I often scratch image surfaces to emphasize the two-dimensionality of the canvas, to turn it into a scratched glass pane or mirror. I deliberately choose non-natural colors, I shift into the colorful, garish, absurd. At the same time, drippings, brushstrokes with a clear flow and engraved messages make the artistic process as visible as possible. I want the image (like memory) to be decodeable as a product of conscious and unconscious work. I want to make the color tangible and the process observable. I work fast and mobile. Acrylic paint is usually the medium of my choice. I use paint from tubes as well as acrylic markers and acrylic paint in spray cans. I see myself as an urban flower: What is good enough for graffiti tags is good enough for my art. I work on unstretched canvases. I appreciate the lightness and - at the same time - sturdiness. I frame them in heavy oak slats, which maintains their relative mobility. Stylistically, I find myself between Pop Art, Neo(n)Impressionism and Abstract Expressionism. I like to use neon colours to emphasise the unnaturalness of the medium and the constructed nature of our perception itself.