Patina | Palimpsest, 2013 to date

Patina | Palimpsest (Visual experiment), 2013-14
210 x 297mm each. Pencil on paper.

Two sheets of paper. The same text written on both of them. 
Patina – written and overwritten – again and again. 
Multiple layers. Condensed past. 
Palimpsest – written and erased – again and again. 
Space for new text to be written. To be read. 
Shared Past. Shared Present. 
Manifestations of time.

Saving (Me) Time - 25|50|100 x 20mins, 2019 
210 x 210mm each. Pencil on paper.

Surfaces, 2013 to date. Visuals collections. 

"...I started to take photos of whatever looked like a time-related texture – either showing some sort of a collection of “different kinds” of ‘Patina’ (...including ageing and weathering) – or an absence or lack of pieces of an overall “coating” for any reasons whatsoever. (The latter was based on my notion, that the traces “left over” on a ‘Palimpsest’ gather an own ‘Patina’ over time.) ..." (Reflective Journal, 06/01/2014)

Surfaces  - Nottingham (UK), 2013 
130 x 100mm each. Photographs. (Samples).

Wanted | Biometric, 2013 to date

Wanted, 2013-14 
Posters | Laserprint on matte paper. 
841 x 1189mm | 1189 x 1682 | 841 x 1189mm. 

A series of oversized portraits of the three members 
of the far-right German terrorist group NSU. 
The group went unnoticed for 13 years and 
was uncovered in November 2011. 

Realised in a dark comic style, the series is based 
on the photographs as published by the 
German Federal Criminal Police Office 
on the actual wanted posters. 

The Memory Project, 2014 
The Space | Nottingham Contemporary

Impression/Imprint (Ein-/Abdruck), 2014. 
Pencil and ink on tracing paper. 
297 x 125,5 mm and 297 x 124 mm | 594 x 253,3 mm.
In response to the exhibitions of Tala Madani (Galleries 1 & 2) 
and Marvin Gaye Chetwynd (Galleries 3 & 4)

      "If it touched you... 
                      (beautiful, ugly, good, bad, intriguing, boring, etc.)
                                                                                               ...touch it back!"

"The sketches on the reverse side of tracing paper are mirroring the layouts of the past exhibitions; shining through against the walls that have witnessed Chetwynds “The Green Room” performance first-hand. The audience is invited to leave their fingerprints – participating in a visual-spacial conversation thereby accumulating and condensing individual memories into a communal memory. Past, present and future is comprised. 
The work explores possible ways on how to pass on and document first-hand experiences other than through photography, recordings or written account creating an unbiased chronicle of remembered, emotional resonance." 

Valpo Series (Valparaiso, Chile), 2009-11
Dry-point & aquatint on copperplate card.

 1|4 Cerro Ex-Carcel - Calle Atahualpa
 510 x 565 mm | Motif/Print: 205 x 245 mm.

2|4 Cerro Bellavista – Avenida San Juan de Dios
565 x 510 mm | Motif/Print: 200 x 150 mm

3|4 Cerro Alegre II
510 x 565 mm | Motif/Print: 205 x 245 mm

4|4 Cerro Alegre I
565 x 510 mm, Motif/Print: 245 x 205 mm

Directions/Sequences, 2008
Scrolls. Ink on tracing paper.

Visualisation of indicated directions in literary texts, 
(marking turning points of the plot and content) 
to make them experiencable in a physical way. 
Recipients can walk along the text passages 
in the respecting directions while reading.

In German - written wordwise from right to left:
Bernhard, T. (1979): Der Keller. Eine Entziehung. M: dtv, 1990, p. 7. 
In English - written from left to right: 
Vonnegut, K. (1969): Slaughterhouse Five. NY: Dell, 1991, pp. 74-75.

Untitled, 2008
A series of four collages made of found materials on binder's board. Painted.

Untitled 1/4, 2008. 
Paper, card-/fibreboard, primer/acrylic paint. 

Untitled 2/4, 2008. 
Plastics, primer/acrylic paint.

Untitled 3/4, 2008. 
Wood/plywood, primer/acrylic paint.

Untitled 4/4, 2008. 
Metals, primer/acrylic paint.

700 x 1000mm each.