First, the drawing is the most direct way from the brain to the visualization of an idea, a sign, a condition. I’m interested in the manifold expressive possibilities of the drawing. I’m interested in their autonomy at the drawn line. The drawing is at the same time idea, ratio and emotion; a universal, transmedial tool.
The focus of my artistic work is hand drawing, which deals primarily with the body, body movement and the principles of motion in nature. My large-format black and white drawings show linear translations of body movements onto paper. The results are often large-sized rhizomes. Other works show a very personal, female position. Materials are charcoal, chalk, edding pencil, ink, oil and mixing techniques.
2017 I began to incorporate coincidence and random color bleeding into my work. The results were more picturesque than before. Mostly it was landscapes that emerged from an unplanned and yet systematically controlled process. I picked up a topic that caught my attention earlier: the coincidence in the composition (John Cage). This procedure does not correspond to traditional image formation. The drawing here is not the result of a controlled production process, but arises through the redefinition of the format, which reverses the sequence of format specification and image production. At the same time, I used Bodylines for cross-media tools for my work. I began to document the development process – the gradual compression of the drawing from the body movement and tension. This is to be understood as a kind of dance; the performative character of my work becomes more important here.
My work is based on an experimental and interdisciplinary basic idea. Tensions such as the relationship between nature and body movement, chaos and structure, coincidence and control are important aspects of my work. One can speak here of a deliberately heterogeneous work within a homogeneous drawing attitude. The works deal with different dimensions of the graphic trace, the reflection of the exterior in its own formal idiom and movement, which is not defined exclusively by the linear structure on a two-dimensional surface, but understands the drawing as an authentic translation and concentrated formation of the space.