The All series invites critical reflection on the systems of visual media production, distribution, and their impact on representation itself. The title recalls the style of books like All Best Quotes or All Unusual Creatures, which strive to generalize knowledge about a particular topic, while simultaneously questioning the possibility of encapsulating a complex phenomenon within a single image. How far can one (random) object or place of a kind be taken as representative of a broader phenomenon in a historical context? This pedagogical approach — teaching by presenting a singular example and essentializing it to symbolize an entire category — becomes a central focus of the series. To what extent can such a method encompass description, process, and sample within the hermeneutical sense of these concepts? Through these works, All interrogates the tension between the reductive act of essentialization and the inherent complexity of representation, encouraging to reconsider the means by which we construct and interpret visual narratives.
Sea Pictures is part of The Act of Looking project, which is devoted to the phenomenology of the gaze. The work both exposes and reflects on the conditions that trigger the act of "deep looking" — from everyday spectacles people linger on (fire, work sites, water) to more specific obsessions (highways viewed from bridges, the ocean at night, etc.). Shot on various coasts in Europe, Sea Pictures deliberately omits faces. It focuses on the act of contemplation itself, showing only individuals who are seeing something we cannot. We never know whether their attention is directed outward toward the sea, or inward toward memory and feeling. This series stages different types of gaze, ultimately insisting on a central paradox: what you look at is not always what you see.
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Initiated during the 2024 elections for the 8th Brandenburg State Parliament, versos, #1 series is the first edition of the wider versos project. It captures local politicians in the act of hanging their campaign posters, but by exposing only the blank, white "verso" of the placards, the political message is reduced to a form without content. This deliberate erasure recursively overlaps three dimensions: the natural person, their performative act of image-making, and the emptied medium itself. As the project continues across future political elections and campaigns in Europe, it strictly avoids propagating any specific party or philosophy. Rather, through this intersection, it reflects on how the political image is constructed, revealing the human face behind the societal role.
"Unpinning Paul Klee's Angelus Novus wings from the storm of Paradise becomes, for me, an allegory of unwrapping history — turning the gaze toward the future after an eternity spent contemplating the Past of Paradise. We can no longer unconsciously carry the artifacts of the past into our Present without adopting the perspective of this angel, pausing to see events not merely as a sequence but as catastrophes. Where catastrophe reigns, reflection ceases, replaced by reaction and impulsive flinching." — TBS
The Lilienstraße project strives to capture an unbiased portrayal of societal positions and opinions in Eastern Germany, focusing on "ordinary" individuals. Through brief textual expressions of their pains and concerns — emerging from dialogue and, at times, heated debate with the artist — the project amplifies chronically underrepresented and unheard voices. Inspired by August Sander's photography and Edward Steichen's The Family of Man, it explores the visual and textual construction of the homo politicus within the context of contemporary life in Germany’s "New States," following their unification with the "Old States" of the Federal Republic on 3 October 1990.
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The Perfect Curve series is the result of anthropological research conducted among everyday drivers and commuters, who were asked to recount moments on the road that triggered specific emotional reflections. For many, driving is a deeply ingrained routine and an integral part of daily life. In this project, the intensely personal situations described by the participants were reenacted. Because the drivers recalled these moments with the vivid clarity of cinema—their memories often structured like film scripts—the works in the series are visually presented as imaginary film stills complete with subtitles.
Intersecting eco-criticism and sensory pedagogy, this project interrogates the ontological weight of the "toy." While manufactured textiles serve as vital somatic anchors for children and neurodivergent individuals, this work shifts focus to the natural artifacts of forest pedagogies. Reframed as ephemeral collaborators, organic items like sticks and seeds foster deep environmental stewardship. By juxtaposing these polyvalent forms against the prescriptive, single-function commodities of late capitalism, the exhibition critiques fast consumption and champions a sustainable praxis of ecological exploration.
This Image is a project that examines the phenomenological distinctions between the image, the photograph, and the text intended to explain its visual counterpart. These visual-textual formulas — ubiquitous in the online world — often falter due to their inherent generalization and reductive nature. Far from clarifying meaning, they frequently obscure context, generating ambiguity and misunderstanding. This dissonance — this void between the image and its textual description — becomes a focal point of inquiry in This Image. The project interrogates the role of the image as a poster, a cover, a stamp, a sign, or a narrative, while simultaneously scrutinizing the dynamics of its interaction with describing text. This reflection resonates with and refers to the practices of artists like Lawrence Weiner, Barbara Kruger, Guerrilla Girls, Ed Ruscha, and Klaus Staeck, whose works critically engage with the interplay of image, text, and meaning.
"There is something animalistic, even uncanny, about cars hidden in darkness or motionless in a traffic jam. Stripped of their primary function, they become tight capsules of odors, sounds, humidity, and softness, preserved only until movement resumes. Capturing these fragile moments of forced idleness — this transformation into glistening, metallic creatures exuding scent and light against the backdrop of nature — is what captivates me. And all this, beyond witnessing how non-places (as described by Marc Augé) suddenly transform into vibrant terrains of life." — TBS
