Photography

I am interested in structures and processes. A painting—or its canvas—can be understood as its own economy and/or institution. Within this line of thought, I ask how a painting functions and under what conditions it emerges.

Aby Warburg’s unfinished image panels for the Mnemosyne Atlas form one point of reference: the interstice as a site of transformation, reconsideration, questioning and examination. The three large-scale canvases, each measuring 170 × 140 cm, share the format of Warburg’s image panels. They refer to them while retaining their own identity as paintings.

Donna Haraway’s concept of “situated knowledge” provides another point of reference. In contrast to the Western assumption that research and knowledge can be objective, situated knowledge insists that every form of knowledge is shaped by historical and cultural conditions.

I collect and pack my research, interests and references. A moving box can be a temporary shelter for an object: a means of transporting something from point A to point B, storing it, archiving it. It is a space within a space—an interstice. A waiting room likewise implies an interstice. The interstice is not a second-class space. It defines itself in the present and creates new connections.

Das Flächenstück takes Honoré de Balzac’s novella The Unknown Masterpiece and Georges Didi-Huberman’s reading of it as points of departure. A painted wall becomes both support and image. Small paintings, reproduced fragments and coloured light interrupt its gridded surface. The work approaches the surface not as a boundary, but as a site where images emerge, become illegible and dissolve.

 A group of small works built from overlapping marks, recurring shapes and shifts between transparency and density. Installed in loose sequences, the drawings form temporary relations across the surrounding architecture.