-/-, travertin, 36 x 36 x 21 cm, 2020
The work -/- tells of the moment when a foreign body enters life and determines the direction of one‘s own actions, similar to what we are experiencing at the moment through various crises. It shows how to relate to one‘s surroundings and how to react to unfamiliar situations.
humus, basalt, 74 x 35 x 15 cm, 2019
The basalt, as a specific type of lava rock, reflects the destruction and decay. Lava buries villages and people, but at the same time it is the condition for new life and opens new space to live. Some people even let themselves be buried in lava after death to merge with nature. I took this material as a starting point and the work humus was created. It is about the decay of the human body, about being slowly eaten up and becoming one with nature.
motus, marble, 30 x 35 x 12 cm, 2020
The movement of the physical, feminine-looking form in the work motus is reminiscent of a cycle: a hill pushes outwards from the wall. At the highest point, a suction to the inside is created, it reaches through the opening into an undefined, infinite space. At some point, one ends up back at the beginning of the hill. The movement is reminiscent of fertilization, with the aim of reaching the opening and disappearing into it.
nātus, bronze, 11 x 14 x 10 cm, 2020
The work nātus represents the countermovement to motus. One is not pulled into the interior of the work, but a head- or flower-like object is pushed out of the oval. It is based on an oval portrait, which is made two-dimensional or in relief. I have deconstructed this idea of a portrait by shaping the object three-dimensionally and thus freeing it from its own limitations.
Stylus mit Narbe, clay, glaze, 300 x 250 x 60 cm, 2018
In this work I deal with the physical side of femininity. The female body is sexualized by the media and reduced as an object. Loaded with the task, to show tight curves and address the man sexually, there ist this sometimes unpleasant and painful task of having children. Women have to secure the reproduction of humanity. On the one hand, these two tasks make women an object, on the other hand, it makes them strong and powerful.
I process these impressions in my installation. On the one hand, my clay sculptures are beautiful and have attractive shapes, like flowers. They are fresh like fruits. The curves and the recurring hollows refer to the feminine genitals and the fertility. Nevertheless, the shapes are massive and absurd, almost unpleasant. Each object is individually, completely unique. They are strong, powerful and threatening.