My paintings are layers: overlays of color and form, motifs and perspectives, virtual and real spaces. Image fragments merge into visual architectures and hyperspaces with which I stage questions about time and change. Temporal perspectives meet on a two- and three-dimensional level.
In a kind of slow motion, I examine different visual levels of reality in the process of painting. In doing so, I research the reception and symbolic power as well as mutual interpersonal relationships of images and illuminate their social context and its transformation.
I use three-dimensional collages of historical images and other visual material as sketches, cut up, deconstruct and re-stage, leaving partly painterly structures and partly fragmentary forms on white paper. In that way I balance between time levels, between figuration and abstraction as well as clarity and ambiguity.