Aerosols, 2010–2014 Aerosols, 2010–2014

These works in black and white are created by exploring the photograms that were tried-and-tested experimentally many times over during the pioneering age of modernism. At first sight, the end product of Aerosols is barely distinguishable visually from photograms: in both instances the space once occupied by the object is reproduced, in terms of motif, as a negative that acts as a positive; in terms of artistic gesture, they were created by spray-painting objects onto paper.

Shells, 2004 Shells, 2004

The photographs depict cocoon-like paper shells of human bodies in different postures and gestures. The delicate materiality of these existential traces substantiated as body casts
set in barren environments takes
a step back in favour of a homogenised image surface occasioned by
the photograph, strengthening the virtually sculptural aspect of the shapes depicted, filled with life as
they once were.

Shells, 2013 Shells, 2013

These photographs came about as site-specific works in a church setting in Krumpendorf in the federal province of Carinthia. In a collaboration with Asian and African asylum seekers in Klagenfurt, paper casts of their body were substantiated through sculptural folds to create inanimate yet moving shells which were then positioned throughout the main hall of the church and photographed. The image plates created in this way were installed temporarily along the walls of the church interior; for the duration of an exhibition, they demonstrated the simultaneity of virtual and real circumstances.

Grasping, 1999/2001/2014 Grasping, 1999/2001/2014

The door handle, the table’s edge, the glass, the book, the artist’s own body – the quotidian is enveloped, palpated, and made visible on paper. The space surrounding the objects, their ‘immaterial shell’, is seized by grasping. Seeing – clasping – grasping: the negative, the space between hand and object, gains significance as a visible imprint.

Galaxies, 2013–2014 Galaxies, 2013–2014

In Aerosols it is first and foremost technical objects characteristic of our civilisation that form the mainstay of the photogram-like works. By contrast, in Galaxies, natural images of plants, leaves, fruits, etc., are generated as abstract images in the atomised spray of black paint. Here again, the shadow consciously formed and induced by the spraying of objects serves to dissolve the contour lines in favour of outlines that have no clear delimitations and convey a sense of three-dimensionality.

Segments, 2013 Segments, 2013

In Segments a section of the gallery’s vaulted room provided the starting point for different spatial arrangements whose vault-like, circular appearances contrast in light-and-shadow divergences in relation to the level floor areas. The different colouring given to the monochrome drawings makes explicit the fact that spatial experiences depend not just on the architectural circumstances on site; the atmosphere generated by the surroundings also plays a role. And while the drawings represent an exploration of spatial impressions, in instances where the photographic reference is less than unambiguous they can also be read as abstract geometric shapes against undefined backdrops.


Continental Drift, 2004 Continental Drift, 2004

The artist’s fragmentary body is the image motif for the photo series created based on a projected video work. In these snapshots the assembled, mirrored, animated body images alienated through digital interventions are transposed to a surreal, abstract and unreal imagery.