471_02 Print

The motif design of my works is predominantly abstract, at most the figurative expresses itself strongly stylized. The contouring of the surfaces and lines appears soft. The pictures could be any traces in thin fresh snow. Something familiar is announced when approaching, which, when looked at in detail, which requires a repeated look, poses questions: What does he work with, is it textile material, is it moving, and how did he create these images? The surfaces are structured in relief. Small strands of color have emerged like threads from the picture surface, arranged by their weaving patterns regularly, in the different lengths uniformly strong and round with rounded end. Where they appear massaged in a proportionate length, they compress the color. The surfaces of the short strands look like shaves in a long-pile carpet. Contrasts arise, according to the contrast between the motivic non-representationality and the figurative, plastic presence of the material execution. From this contrast, the images draw their tension. A second contrast occurs between an obvious mobility that was (or still is) inherent in the pile of the picture, and the apparent solidification, of which it is not known how long it lasts, and whether it will not be lifted up again. The color strands seem to have been fixed in the movement. In this way, the images convey something momentary, mysterious. It is obvious that they capture the moment of substantial change. My pictures are designed from the back. Through the woven image surface I press the color substance. Filtered and pixelated, it emerges on the image side, inverted and always surprising in the concrete view, even if I can intentionally use the image through the amount of color and print. In this way, I demand that the material be co-created, which I can influence, but ultimately cannot completely control in the realization. During the months-long drying process, in which the image changes in nuances, I concede to the color the uninfluenced co-design.