Work process

I have always been lured by pictures into exploring the stories behind them. I have often seen things in pictures that have only been shown to me. Even as a child, I cut them up and pasted them back together again to tell my own stories.

I still do that. But the medium has changed and put other scissors from other “systems” in my hands. Keyboards, cursors and Photoshop have expanded my cut and paste possibilities but the result remains a collage. Now it is a collage of picture snippets as before yet made out of technical matrix/pixel grids with their own visual magic.

I am clueless sitting in front of a virgin screen unless something triggers me.  It is that trigger that prompts me to go to my PC. Virtually anything can set me off: another picture, a detail of that picture, something hidden in that picture such as a pattern or an archetype. Words and sentences can also point the way to certain imagery. Concepts from science, philosophy and even religious expressions can easily trigger me.

In the beginning is an idea. This initial notion usually has nothing at all to do with the final result. It is slowly lost as I proceed, being pushed out of the way by artefacts, by inconsistencies in the programme for the picture (they do indeed occur) and above all, by coincidences. The latter are particularly important. They initiate a game. We play together.  I also use them provocatively if my work ends up in a cul-de-sac. That happens frequently. When it does, I have to break up the picture, destroy it. This destructive act creates coincidences in the pictorial composition and effects which generally point out to me the next constructive step.  A rhythm of fractal repetitive loops arises from playing, letting things flow, getting stranded, destroying and rebuilding until the final result emerges. The images evolve.

I am ignorant throughout the entire process. The only thing I know with certainty is when the picture is finished. This process may appear directionless. It is not by any means. It is with great power that the technical repertoire guides and uses me to reflect the basic theme itself (within itself) and ultimately to depict it as a picture. This is evident only in retrospect. Process and final result are two sides to the same core phenomenon.

Why do I make these pictures?  I love to play and I play to be able to be astonished. I try to cope with our world, our times and finally also myself. I am fascinated with the magic of this incomprehensible labyrinth around me and of how unwaveringly and naturally life makes its way through it. I seek to do that too. I make pictures mainly for myself and am releasing a selection of them by opening this website. Perhaps they will lose their way in this labyrinth; perhaps they will trigger a dialogue, new life and new astonishment.

(translation by www.Apostroph.ch)





Initiators or some big names that crossed my path at the right time and and enabled me to pushed open portals to untold universes:

Gustav Schwab „Sagen des klassischen Altertums“,

Friedrich Dürrenmatt „Gespräche, Stoffe, Dramaturgie des Denkens“,

Kevin Kelly „Out of Control. The Rise of Neo-Biological Civilisation“,

James Gleick  „Chaos – Making a new Science“,

Lynn Margulis  „What is Life“,

Werner Heisenberg „Der Teil und das Ganze“,

Mircea Eliade  „History of religious Ideas“ and „The Myth of eternal return“,

Joseph Campbell „The Mascs of God“ and „The Hero with a 1000 Faces“,

C.G.Jung „Archetypen“ and „Traum und Traumdeutung“, 

Christoph Türcke „Vom Kainszeichen zum genetischen Code“ and „Philosophie der Traums“,

and last but not least and above everything Thomas , with whom I was able to experience the biggest mystery.