> The childhood of my memory (2025) is a story about transformation and healing, a very personal journey to my own heart and to a self worthy of love and life. The publication, based on the German edition Die Erinnerung an meine Kindheit (2020) and created in collaboration with the designer Clemens Schedler, provides an insight into the autobiographical analysis of traumatic experiences of child abuse.
It was only decades later that I was able to engage with the painful recollections of these events. I learned that orchestrated groups trafficked, drugged, molested, raped, tortured and eventually killed children. Through body therapeutic practices I captured memories in paintings, drawings, text and photography in order to give the unspeakable a name and a form.
The book features a text by Sonja Busch, founder and coordinator of the European Association for Holotropic Breathwork and an epilogue by Manfred Nowak, co-founder of the Ludwig Boltzmann Institute for Human Rights, Secretary General of the Global Campus of Human Rights and Head of the UN Global Study on Children Deprived of Liberty.
English Edition 2025 | Swiss Brochure 128 Pages | 25,2×18 cm | 58 Illustrations in b|w and Color ISBN 978-3-991531-58-6
German Edition 2020 | Swiss Brochure 96 Pages | 25,2×18 cm | 49 Illustrations in b|w and Color ISBN 978-3-903320-76-5
Both publications received generous support by a number of institutions, amongst them die Angewandte, Bildrecht GmbH, Federal Chancellery of Austria, Global Campus of Human Rights, International Forum for Understanding, KJA Kinder- und Jugendanwaltschaft Wien and RD Foundation. Distribution and Marketing by VfmK Verlag für moderne Kunst.
A selection of work was presented or featured at the 25th OSCE Conference of the Alliance against Trafficking in Persons Vienna AT, Gallery Andrea Jünger Vienna AT, Goodenough College London UK, Künstlerhaus Wien AT, Lentos Museum Linz AT, Ö1 Austrian Broadcasting, United Nations UNODC Vienna AT and Wiener Zeitung Vienna AT.
Acrylic paint, crayon, pencil on paper;
> Dreamweaver (2024) is a land art installation that dwells on the notion of nature as sacred, breathing, ever changing and inter-connected on all levels. It is a story about memory and the passing of time, about the land and its intimate relationship with local communities. Dreamweaver consists of wooden poles and used ropes of different texture, arranged in a defined pattern.
The title refers to dream paths laid out over generations by native Aboriginal Australians as memory based imprints across vast landscapes. Imprints are generated through story telling and songs that are shared with the land. Everything is alive and in an ongoing dialogue with each other. Aboriginal Australians learn about the paths through dreams.
Dreams relate to memory and the land harbours memory through experience, being continuously fed with information. Ropes, manually used and traveling the land over periods of time, harbor imprints as well, even if the length of time is much smaller. The physical labor such fabrics go through is mirrored in the process of aging and eventually of death. The notion of time carries the seed inside for becoming a dream. All anchor points are connected with one another, referring to this socially complex, pulsing, world-wide network of heart and mind. It also refers to how we as a species depend on one another.
Dreamweaver was generously supported by EUNIC India and the Austrian Embassy, and was on display at Sā Ladakh Edition Two in Leh, India.
> Self (2023) is an attempt to affirm the reality of my own existence through the photographic eye, an exchange of self-relevation and self-concealment. Susan Sonntag refers to it as our coping mechanism, however imperfect, for dealing with the complexity of the outside world and of our interior lives.
Self was on display at Rotlicht Festival Vienna AT and Gallery Andrea Jünger Vienna AT.
Fine art prints, limited edition;
> Mariposa (2023) dwells on beauty. I photographed fallen leaves collected in the Talamanca mountains of south central Costa Rica, arranging one leave in a series to four others. Finding narratives within these elaborated, delicate and ever changing structures became a peaceful practice. It made me aware of my own fragile self and the concept of impermanence.
This work is dedicated to Isabella Lugsch for making me stumble upon such a hidden gem.
Mariposa was on display at Foto Festival Vienna AT.
Fine art prints, mounted in object frame, limited edition;
> Chapéus de Sol Pretos (2022) or … »There is one thing I’m good at, and that’s looking at the sea.« (Marguerit Duras, Practicalities)
Chapéus de Sol Pretos was on display at Gallery Andrea Jünger Vienna AT.
Fine art print, mounted in shadow frame, limited edition;
> Blosme (2020) touches upon an ever changing sensual landscape with the use of manual slide projectors. It’s a search for an open field, an unknown place to grasp with our imaginative hands.
Blosme was on display at Anzenberger Gallery Vienna AT and Gallery Andrea Jünger Vienna AT.
Fine art prints, mounted in object frame, limited edition;
> Closeness (2020) examines ways we are connected through touch, our primal sense. Friends of mine with close or loose ties towards each other explore touch from a rather physical sensation to one felt from deep within. It opens up a kaleidoscope of languages and lays bare our individual sense of vulnerability as well as the transformative power of touch. The political aspect of this work comprises an array of questions regarding heritage, physis, social perceptions and how to locate people in a national and geographical space.
I understand Closeness as a valuable lens through which to look at fundamental changes in our society, an open space to ruminate over human interaction and its value to our own existence.
Closeness was on display at Hong Kong Arts Center | Goethe Gallery & Black Box Studio, Wan Chai HK and Künstlerhaus Vienna AT.
C4 photo prints, mounted in shadow frames, limited edition;
> Traces (2019) follows the dots between photography and painting, estranged and hidden places, implicit in both types of media. Manual slide projectors paint multi-layered structures on the dancer Maartje Pasman, the images taken are process-based, sudden appearances on the horizon of our senses.
One visual layers consists of a painting of Maartje, done by the painter Lucia Riccelli.
Traces was on display at Gallery Felix Höller Vienna AT.
Fine art prints, mounted in shadow frames, limited edition;
> Quick Silver (2015) refers to the acclaimed Butoh artist Ko Murobushi. Influenced by European expressionism Butoh shifted Japanese traditional dance to the artistic avant-garde of the 20th century postwar period. The founders Tatsumi Hijikata and Kazuo Ohno fought conventions with the desire to reveal the truth of the human being in life and death. Butoh can involve playful and grotesque imagery, taboo topics and unusual environments. I collaborated with Ko at several occasions in Europe and Japan.
A selection of work was presented or featured at Tsubouchi Memorial Theatre Museum Waseda University Tokyo JP, Libreria Editrice Cafoscarina Venezia IT, Edition Autrement Paris FR, Revue Natives Muret FR, Gallery Combaz 7 Crans Montana CH, Doc! Photo Magazine Warsaw PL and Anzenberger Agency Vienna AT.
Fine art prints, mounted in shadow frames, limited edition;
> A Sea of Being (2015) is an exhibition series on Butoh with the dancer Mirjam Morad,
inspired by German Ausdruckstanz of the 1930s. We searched for ways of re-living, re-embodying memory that is within our boundaries of perception. Our work pondered on the violent disconnection of the body from the natural world and the relationship of all humans, animals, plants and natural objects as one single, breathing, sensual entity. We published a same titled print publication with the designer Agnes Steiner, Büro AgS. Visual artist Nourit Masson-Sékiné provided the foreword.
Bi-lingual English Japanese Edition 2015 | Softcover 80 Pages | 34×24 cm | 90 Photos in b|w and Color ISBN 978-3-200-04371-8
Images taken from A Sea of Being were on display or featured at China Life Magazine Shanghai CN, Tanz Magazin Berlin DE, Art Habens Berlin DE, Vizualizator Festival Belgrade RS, Gallery Andrea Jünger Vienna AT, Photo Book Festival Vienna AT, Photon Gallery Vienna AT and MAK Museum of Applied Arts Vienna AT.
Fine art prints, limited edition;
> Gras (2013) addresses questions of oscillation and stand-still, dizziness and balance and is composed of a series of images of the performer and choreographer Georg Blaschke. The body becomes the underlying ground for choreographic arrangements and superimpositions of organic substances, which provoke formal bodily extensions, perceived as inner and outer landscapes. The setting allows a sensual experience on the borderline of perception and results in an intimate dance on the horizon of focus and haziness. The aim is to see the unseen, to inquire what meets the eye underneath the obvious and familiar. »One of the greatest challenges in today’s culture, urgently necessary from a political point of view, is how to bring analytical skills to bear on the perceptual physiological language of the image, an event and not an object, constantly changing, living and growing.« (Bill Viola, Unseen Images 1992)
Agnes Steiner, Büro AgS designed an accompanying brochure and a postcard edition.
Gras was presented at Vizualizator Festival Belgrade RS, Austrian Cultural Forum New York, US, Berlin, DE, Zagreb HR, Prague CZ, Rome IT and Budapest HU, Gallery Andrea Jünger Vienna AT, Kunsthaus Muerz Mürzzuschlag AT, Odaada Gallery Vienna AT, Impulstanz Festival Vienna AT, Tanz Ist Dornbirn AT and Tanztage Burgenland AT. Many thanks to Andrea Jünger, Liz King, Karl Regensburger, Marija Ilkic, Isben Onen and Günter Marinelli for the generous support.
C4 photo prints, mounted, fine art prints, limited edition;
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