STATEMENT
My works are figurative oil paintings, mainly of the human body in motion, blurred as though caught between frames, frozen in time and space.
In an increasingly digitalized world that strives for smooth perfection, my work focuses on the analogue resistance of the flesh and the visibility of inner turmoil.
My contemporary, dynamic, and mysterious works of the human figure are marked by longing, freedom, and alienation. Bodies, captured alone, gathered in edgy groups, or trapped in crowds, move through frozen spaces, absorbed and weightless, toward forces full of dynamism.
In doing so, I highlight the contradictions between stillness and flow, precision and uncertainty, chaos and harmony. I thus attempt to visualize the inner yin and yang of various forces. I am engaged in a constant exploration of the body and body language as part of an ongoing deconstruction of the image.
Within this area, I have three bodies of work.
The first is the Floating Dancers. The figures are dressed in pale, fluid dresses against bare ground in warm colors, with calligraphic marks that can be read as air or water. The figures float weightlessly through time and space.
The second is the Mysterious Bodies. The figures, intertwined with one another, are dynamic and powerful. Self-assured bodies are distorted and fragmented. The brushstrokes are rougher than in the Floating Dancers.
The third consists of works situated between the first two, as well as landscapes and portraits that share the same signature language.
I think that, as an artist in Austria, I inevitably have a strong affinity with the body, given that the Viennese avant-garde—artists such as Egon Schiele—had already placed the human body and psyche at the very center of their work.
My in-depth engagement with the works of Francis Bacon—with their exploration of existential turmoil, isolation, and the rawness of the body, as well as his painting technique—has also influenced my own work.
I work with partial blurring between static and blurred planes, leaving a vague sense of what lies beneath the surface. The prominent elements are perception and distortion.
I paint with a glazing technique using wet-on-wet paint application and a semi-transparent colored undercoat. I apply several thin layers until I reach the final layer, where I work with partial smudging.
Placing the human body and psyche at the center of my work, I use subtle blurring between static and blurred planes to convey a vague sense of what lies beneath the surface. This captures the constant changes that the body and psyche undergo in today's world.
In a digitalized world, “intentional imperfection” is central to my work and philosophy. It is the experience to rock your soul, the bubbles in the glass, the headrush the next morning …
