In many of my sculptures I explore the mystery of the hidden innermost. I equip the openings of the figure´s bodies with different objects: a demon, a bird´s nest, stars or, naturally, organs, that do not belong to the holder…
Sack of Stars, 2020
burlap, textile, metal, 117 x 84 x 72 cm
he stars is not prominent. The nocturnal lights of the city outshine the stars and the moon is most of the time hidden behind buildings. Its difficult to keep a relation with the universe.
Sack of Stars- a figur, bigger than life, squats on the floor. The torso shows itself as a simple open sack which is made of burlap, stitched roughly. Only the inside is lined with a darkblue fabric with a pattern of stars and galaxies.
On its brim in front and at the side long limbs are attached. They end in large hands and feet. The huge head is slightly bend over, the eyes look downwards into the sack.
What happens when I bring the universe in my inside and establish it there? In the end all elements that constitute live on earth have cosmic origin.
Delicate Reciprocity, 2019
burlap, textile, paper, variable dimensions
Two figures, one top of each other, a third figur sitting at the side. They have the size of children.
The firgues are characterized by their hollowness in the torso. Through the holes a long chain of radiant red pouches hangs down. They remind us of organs. The last pouch appears under the lying figure on the ground.
Light cast a shadow of the organs on the wall. The shadow touches the sitting figure on the side.
papermaché, rice paper, corrugated cardboard, 165 x 57 x 29 cm
A bust of a smaller than life size female figure. She is covered in a cloak that leaves the front open. The head is slightly tilted, the eyes closed. The braids hang down and grow into the inside space. The arms and folded hands form a circle that closes the form.
inside the bust another head is placed. In contrast to the inwardly look of the female, this head shows excentric expression. Eyes wide open, nostrils expanded, mouth open, teeth bleeped and tongue protruded. The hair of that creature looks like flames and the braids that end on the head remind of horns.
Faking Good Faith, 2015-2016
papermaché, glue, wood, chain,
62 x 48 x 103 cm
Faking Good Faith consists of a head, chest and arms which are mounted to the ceiling. The stretched arms support the airy suspension as if the body reaches out in front. She is also flexible and able to move on the mounted chains.
The title Faking Good Faith brings up the question of how much of our fate is determinable. If we walk in one direction, we increase the chance of arriving. The figure´s tongue is protruded like a platform to invite the fortunate future to land.
Conditionality, 2013 – 201
Korean paper, glue, fabric, metal,
97 x 106 x 148 cm
Conditionality was born out of a dance exercise. In this exercise one dance partner of two is held in the arms of the other. Both are sitting on the ground. The holding one reacts with retaining or releasing to the held one. I was very impressed by this exercise. Though it sounds simple, it reveals high complexity of conditionality.
A Quiet Dynamic of Ambivalence
A woman´s eyes overflow and offer a helping hand of an unusual kind: tiny arms reach out of her eye sockets and stretch beyond the female face, almost as if they wanted to touch the viewer, while the woman´s thin lips smile faintly. Nadine Rennert calls this work „Refuge in Ambiguity“ (2013); a second bust adds to its double meaning. Like the first, the second bust is made of handmade Korean paper. But, unlike the first, it has carefully molded eyes. And its mouth is wide open – and stuffed full of limbs: two legs are sticking out of it. It looks like someone is being devoured. In fact, the Janus-like arrangement of the two busts suggests that a mini person has been gobbled up one, only to be released back into life by the other. Good fairy, bad fairy. But the simile doesn’t quite work, for the two hollow forms of the female likenesses, which are facing opposite directions, are calibrated to a certain distance. Between them is empty, open space.MICHAEL HÜBL, KUENSTLER – Kritisches Lexikon der Gegenwartskunst, 2014
Reminiscence to Completion, 2011
papermaché, wood, metal, color, hemp rope, stool, variabel dimensions
This comparision with the disillusioned realism of that era, which rippled out even into the Baroque periods, is further supported by the Artists use of the death´s-head motif in various works – perhaps most memorably in her sculpture (or sculptural setting) „Erinnerung an Vollendung“ (Reminiscence to Completion, 2011), in which a voluptuous female figure is perched on a tall Stoll, holding a thick rope in her hands. It lies coiled before her on the floor at a certain distance and extends from there to between her legs, becoming visible again behind her, under her posterior. It’s unclear whether the sitting figure is introducing the thick rope into her body or if she is pulling it like a bulky umbilical cord out of it. What is certain is that existence and nonexistence are at play here. The rope is cut off like a Norns´threads of fate in Norse mythology. And: from the back of her head and over her soft fill breasts down to her ankles, the woman’s figure is covered with the bleak grimaces of skulls.MICHAEL HÜBL, KUENSTLER – Kritisches Lexikon der Gegenwartskunst, 2014
Unknowing Waste, 2010-2011
papermaché, wood, paper, color, stem of an artificial rose, height: 210 cm
A childlike figure made of grey Papiermaché stands dressed in a transparent paperdress. The arms are not finished, inside we see printed newspaper. One arm reaches forwards. The figure ist attached with two stems of an artificial rose. On the white face is a scull painted.
We hunt the game that sacrifices us, 2011
papermaché, wood, paper, color, stuffed hare, 176 x 64 x 46 cm
A human being, in a moment, taken out, hovering. In a point in time of life. Looking forwards and backwards. As hunter she holds a hare, as quarry she carries an antler.
Divine Discontent, 2010
papermaché, metal, paper, colour,
140 x 98 x 88 cm
Two childlike figures face each other in a dancelike position. The bodies are turned to each other, as well as the face. Only their eyes are turned completely outwards. They look like staring into the distance. Both arms reach out, but do not touch.