top 7x7 black Monochromes,

charcoal on paper, 309x430 cm

View of the group exhibition MCCV Expension matérielle at Atelierhof Kreuzberg Berlin 2014.

top Saint Francois d’ Assise

Charcoal, handmade paper,

top Lindwurm series

Conceptual drawing, the Lindwurm series

The series Lindwurm consists of three upright formats of 150x300 cm each. The basic form is a variation of three possible forms of snakes (L.I = horizontal lines, L.II = vertical lines, each line being different lengths, L.III = only circular lines). The width of this basic form was chosen so that according to these parameters, only one possibility for the design remained open: The basic coal forms are again found on a grid of graphite, within which two grid squares correspond to the width of the basic form. It is this standard width from which the most aesthetic liquefaction of the charcoal monochrome results.

top Sodom und Gomorrha

Zeichenkohle auf Polyurethanschaum, je 34x25x 2,5 cm-

top Deutsches Brot

Graubrot, MDF.

top I refuse to answer that question on the grounds that I know the

Charcoal and red chalk on paper. fine art print, and pen on paper. 3 parts-work with an entropic character. 2x(40x40) cm and 300x300x5 cm.

(Conversion of a quote by writer Douglas Adams)

A constellation of twenty-three x twenty-three = 529 half-spheres on three by three meters wall surface. To the right and left of this central constellation hang two works of 32x32 cm.
Each element of homemade recycled paper is executed like a classic multi-layered monochrome. The blacks of several layers of groated coal and soot, the reds with homemade groated iron ore. The left work shows the plan of the hanging, ink on raster paper, while the right photographically shows the artist while creating the same plan, fine art print on laid paper. Of Joseph Kosuth’s everyday trinity of word, image and cause, becomes a creative unity of work, idea and artist. The unit, however, is of lesser duration, because the spheres are deliberately hung with inferior tape, so that they gradually fall off like ripe fruit, turn into an ephemeral installation that leaves the formalist language of the seventies and independently frees itself from the obscured, stringent , the mathematical plan of the artist, as an allegory of change, the constant renewal in art, transition into an unfathomable creative future.

top  The funeral of Queen Mary

Charcoal and soot on handmade recycling paper, on white lacquered mdf. 90x60x4 cm.

top I refuse to answer that question on the grounds that I know the

Detail frame left.