This page offers a chronological overview into my artistic work since 2006, when I started my studies of Fine Art at the Academy of Fine Arts Vienna.
This archive is incomplete.
“In large measure becoming an artist consists of learning to accept yourself, which makes your work personal […].”
“Art & Fear: Observations on the Perils (and Rewards) of Artmaking”, 1993, David Bayles & Ted Orland
In 2020 I started a work series that reproduced digital glitch aesthetics in oil (on canvas) and pencil (on paper). After caring for years about compositions featuring many individuals, I wanted to turn my focus onto one individual at a time, a practice deeply rooted in my passion for portraiture.
I started experimenting wih handmade pixelations in 2017, and kept the practice as part of my work process: to take a photo, sample its colors, and create visual abstractions with focus and dedication. During the lockdown, I continued processing personal and societal events and atmospheres, and started a series about the Black Lives Matter protests.
During the 2020 lockdown I created a series of oil-on-paper paintings. Paper sucks up the oil extremely quickly, resulting in an unusual workflow for oil painters: you work more in layers than in color blending.
2019: Short Films
In 2019 I expanded my image abstraction software (“Geometries Everywhere”) to be able to process video data. As a result, I created various short films.
In 2019 I started making photos and videos of anonymized people on public transport. This ultimately turned into a deeper curiosity, and maybe inquiry, on the topic of waiting. Any object or place can become one of longing, so I let this series become a space for a personal reflections on this.
2018: Kindness of Strangers
I produced these works after I finished my second series of psychotherapy sessions. The pieces have the wide-ranging, meandering ambiguities known from my previous work — which are also uniquely known to those trying to interpret dreams, Freudian slips or other co-conscious actions.
2017: Political Paintings
I started feeling limited and frustrated by mostly focusing on my emotional and sociological background as bases of my works — although my everyday reality is so strongly based on reflecting the various conditions of the world. As a result, I created a series of works depicting heavy political and societal events.
2016: Hopes and Expectations
This series consisted of works showing people in union, yet apart. Theatrical scenes populated with interpersonal agendas, focusing on a loose triple dynamic of identities, places and actions – with uncertainty being their potentially distinctive, uniting feature.
2014-2015: Large-scale Abundance
In 2014-2015 I created a lot of large-scale paintings that blended the ideas of abundance with those of minimalism — resulting in brimming, fuller pieces. I experimented with the idea and point-of-view of the theater stage: to offer a clear, direct angle into whatever ambiguity the paintings contain.
I created these works during a residency in Seattle (organized by my dear friend Siolo Thompson). The focus was on mass surveillance, as described in the then-recent whistleblowing efforts of Edward Snowden.
2013: Narrative Abundance
In 2012/213, after producing visually monolithic works, I started focusing on paintings containing an abundance of visual/compositional elements, to create various strands of meaning that would ultimately non-compete for attention.
In 2013 the friendship with Patrick Wagner of Black Heart Press led to a two week effort in collaborative printmaking. This project was initiated by Patrick, and resulted in a series that mirrored and expanded on various formal ideas that I first established in my paintings.
2011-2014: Narrative Minimalism
In 2011 I started experimenting with large-scale paintings that would mostly focus on one monolithic visuality. The idea was to use various inherent aspecgts of painting to create platforms of meaning and potential – binding atmospheres. Narrative minimalism.
2010: Time-based Works
In 2010 I produced a series of drawings and paintings that focussed on creating static images out of time-based activities. The idea was to take an aspect of film (dynamic content), and recreate part of its potential in a different medium (painting and drawing).
2009-2010: Narrative Paintings
I solidified my initial stylistic choices in regards to narrative painting and drawing in 2009-2010, when still studying at the Academy of Fine Arts Vienna. How to narrate a person or situation visually? How do symbols, geometries and figuration interact?
2008: Narrative Paintings
I can trace a direct line of formal and emotional continuity between Dissection: Hope (2008), to the newest works that I create today. This includes the evolution of visual composition, color choice, use of geometry, the specific feeling of the depicted people’s gaze, etc.
2007: Tree of Knowledge
This work series consists of nine ink drawings, that together form a stylization of a tree (the upside-down pyramid). Each image depicts a ginseng root, and most of them also feature a specific face of a person that my life revolves around.
2006 was the year that got me accepted into studying Fine Arts at the Academy of Fine Arts Vienna. I had been drawing for two years, and now experimented a lot with figuration and movement — sometimes bringing the two together.