General statement

Painting as a conceptual language

From the start as an artist, a painter, I wanted to work out my position as a female artist. It means I had to ruminate art history from a female point of view. That is one of the reasons why I mix parts of textile  and sewing materials with paint. It is also why I neglected coherence and linear development in my work.

I look at art history as a network, where I am the spider weaving new connections between the world wide available images and styles in an associative manner. I drifted from fundamental art to wild painting, from fine detailed parts to rough surfaces.

Now in 2019 I use all kind of materials and content matter, related to different periods of time, art historical references, personal associations and places on earth. I combine what I want or meet in my appropriated style with a wide range of painterly languages.

My focus is to tackle the icons and well known images of the western art history and the underlying ideas. For every individual painting I use a different style and method, which fits the specific content of the painting.
With the help of the Google-take-away-image-box and not forgetting my own history!


Patterns form a universal language. They often traveled from one country to another. Their abstract appearance transcends local and personal matter. I want to find similarities and surprize me about differences between people.


In the series Interventions I look back at some old master paintings or old photographs from a 21th century point of view.