In Römerstraße, the main street of the small town Bad Ems there are fashion boutiques, delicates- and decoration shops and shops with rummage sale. Located diagonally opposite from the marble hall, one shop window displays something out of the ordinary and is a disturbing factor in the idyllic spa town Bad Ems just as the town’s own partly bloody history.

The wall-mounted sculpture ARM depicts an industrial robot that grabs pieces from the RED BUFFET, a reddish mixture of substances that fills and surrounds many different food packages, and stands universally for processed food.
Different packages of e.g. fast food, snacks and candy mingle with the camouflage of the installation in a similar colour scheme of red, white and dots of green and together create an unappetising wasteland that associates mass produced and leftover food.
RED BUFFET explores our relation to foodstuffs in different ways and it contains clear references to packed red meat, slaughterhouses, blood and industrial accidents.

The uniform look of this at the first sight heavy definable material is also used to make the viewer think of that the same ingredients can be hidden in all kinds of products, something that the average consumer is not aware of. This is inspired by Christien Meindertsma´s book Pig 05049 which is a documentation of the variety of products that parts of one single pig are used in. The plaster used in the installation might contain pig bones and many of the empty food packages have contained pork in forms of schnitzels and hamburgers, but even in more hidden forms like in liquorice, crisps and bread.

One of the first sunny days in the year was the right time for a spontaneous exhibition of the just finished work HIGH PRESSURE PUMP.
The sculpture is about impermanence and never-ending shift. This is manifested in the air streaming taking place in the technical shape of the pump as well as the never stopping working process inside the tree it is made from, with its shrinking, swelling, warping and breaking.

The temporary placement in the open street and the confrontation with the urban situation evoked interactions impossible if exposed within an institutional context, like some peoples´ confused reactions and cars slowing down and driving carefully around it.

Starting from a recently evacuated prison cell with yellow walls and eye-catching prison graffiti by various inmates, partly signed, partly anonymous, the installation STARING WALLS adds small sculptures that depict stylised eyes in a yellow tone that matches the colour of the walls. They symbolise the unbearably feeling of the walls staring at one from every angle and the anxiety of being caged that is also manifested in several of the graffiti writings.

These elements are placed around slogans and scribbles and therefore direct ones sights to things like a ripped magazine page with the text "Believe + Hope, Waiting for the pope: Happy youngsters at the world youth day in Madrid", unsigned writings like "Life fucks you every day like a whore who likes her clients!!" or "You have to be at the very low to get to the very top in order to understand." and also writings by Rick R. from Garaht saying: "If you think you bug out it is just the beginning!", and by Kevin Burghartz from Krefeld saying " F95, Fuck the police, ULTRA 4-ever, black, white, red are the colours of the nation". Another one says “Kevin Burghartz from Krefeld from 26-04-2011 “Until in detention awaiting trial. I got 2 years but so what, everything passes away ;), Jackpot, 47805 Krefeld, G-Town, A.C.A.B. (All Cops Are Bastards)!" A doodle of a water pipe, a bold swastika, and countdowns of the days to the release from prison are also included.

In the middle of the cell the wooden sculpture ESCAPE is exposed on a base. It denotes a functional object, more precisely a stone cutting machine. It was previously part of the installation BAUSTOPP and had the narrative of a harmless construction machine. With the context of the prison its connotations change completely and it associates a tool to break out or even a weapon that can be used either for suicide or for violence against other inmates or employees in the prison.

A series of tiny sculptures that seem to grow out of the walls, mainly made from blue Styrodur®, are glued onto the blue walls and on and behind the grid. The small sculpture BROKEN ALARM BUTTON is mounted on the window wall.
These components together underline the very narrow prison room and increase the sentiment of claustrophobia.

The appearance of elements outside the bars makes it unavoidable to look outside. As a whole these features form an imaginative path to the outside world.
The title FLUCHTPUNKTE gets a double meaning in this work. In English it means vanishing points and here it highlights the perspective change depending on the position of where in the space one stands and what ones eyes are looking at. The other meaning is that “Flucht” means escape. In this coherence it becomes escape points. Each of these sculptural “points” is an incitement to in ones mind look beyond the space behind the walls and the bars these sculptures are mounted on.

Affected by the construction work that was being done anywhere in Düsseldorf since autumn 2011 BAUSTOPP is the ambition to capture the sculptural presence of the different sites observed in one major installation. My interest lies in the haptic experience of substances like for instance piles of debris, the shapes of different tools and machines, as well as in processes of building up, tearing down, marking territory and breaking barriers.

The state between construction and deconstruction is familiar to me from my studio work. The installation is also about taking something from the outside world and anchoring it with the existing interior. Many materials, typically used for construction and isolation are used, partly purchased, partly found in containers at construction sites

Compositionally the installation is done in correspondence to the round arch of the space in the art academy.