For a long time I focused on figures to act out poses or situations to represent personal chapters. Most of my models were friends. I did however, portrait strangers in connection to the ConatusBlog. A project focusing on the life-motivation of random people in Berlin. Working at the theater inspired me to build settings in which my protagonists would interact. Or I would focus on one individual and build complexity through additional props like fabric, plants or objects. Nudes were also a big part of my studies. Euan Uglow was a great source of inspiration in terms of composition and later my introduction to still life painting. I go back and forth putting my subject into the spotlight, or discarding it completely and being merely a shape to distort. My weapon of choice is predominantly oil paint. It is a hard medium to control, but rewarding like no other.
My sketchbooks were usually just stacks of loose sheets of paper. For some reason I have trouble keeping my drawings in a bound book. It's something about a blank sheet of paper which gets me excited. I have this opportunity to turn it into something independently beautiful. A book ties old and new sketches together which takes emphasis from the single artworks in my opinion. On the other hand, it can be a nice representation of a body of work. Maybe I just never had the patience to stick to one sketchbook. My medium of choice is usually oil paint and pencil on paper. In the past I have experimented with markers, watercolors, acrylic paint and ink.
In 2018 I was experimenting with different backgrounds and materials to paint over, when I started getting sucked into the materials and intuitive arrangements itself. At the beginning I focused on paper with different structures and thicknesses. Through adding different types of paste and glue I discovered beautifully intricate patterns of overlapping wet paper. It immediately reminded me of art school where I spent a lot of time studying El Lissitzky, Malevich and other Russian constructivists which were fascinating to me at the time. I went through old notes and rediscovered other artists like Rodchenko, Mondrian, Popovaand Walter Gropius. Without noticing it I was knee deep in abstract art and design theory. Simultaneously my studies continued and grew in complexity. Experimenting with wood, metals, textiles and resins I developed an understanding for new materials, techniques and chemical reactions. After years of realistic oil painting, it was a breath of fresh air to explore this new way of mark making.
It started with graffiti very early. My ten-year older brother had our mom's permission to spray paint the back of our garage and I was immediately fascinated. It was the coolest thing I had ever seen! I took my chalk crayons and tried to recreate what they did on the pavement. I must have been around four or five years old. The rest of my childhood was an odyssey of sketching and tagging, then later bombing and getting up. I ran with some local crews and was surrounded by talented artists which allowed me to progress rapidly and keep up with the older writers. College then opened my eyes to other ways of expression. I spent my first year at Central Saint martins taking advantage of the different departments which were now available to me. I was absorbed by analog photography and different types of printmaking. I started experimenting with Stop motion film and gained an understanding for frame by frame animation. Graphic design and Typography were useful tools to communicate my ideas and visualize concepts. Life drawing classes sparked my passion for figurative painting.