Wellenritt der Wahrnehmung

Short description

New Hippie Generation constructs a pop-inflected utopia of nature from fragments: on the left, a dense field of yellow blossoms forms a visual mass; in front of it is a face assembled from floral textures – the human as collage, identity as a layer of vegetation. Below, pale blossoms hang into the space like heavy drops or pendants; they appear delicate, yet also slightly artificial, almost like stage props. On the right, the words “new hippie generation” appear in bright green. The title itself becomes a statement, almost a poster-like gesture. The image plays with the promise of a “new naturalness” while simultaneously revealing that this naturalness is constructed – through cut edges, overlays, and style.

Materiality & Process

The work is created digitally from photographs: plant elements and portrait fragments are cut out, assembled, and arranged into a clear division of the pictorial field (visual mass on the left, text field on the right). The typography (the “Nocker” typeface) acts as a second level of staging: it sets a tone somewhere between retro, pop, and manifesto, directing the viewer away from the idea of “pure” nature and toward cultural attribution. Transitions, edges, and shifts in scale remain deliberately visible. In this way, the work openly shows how its collage is constructed. The plants become material samples of an attitude: nature as ornament, as a surface of identity, as a political-aesthetic assertion.

References (Index)

Plants: Jasminum nudiflorum · Prunus subhirtella ‘Fukubana’ · Prunus serrulata ‘Kanzan’ Typeface: “Nocker”

Work series

Bildende Buchstaben

Short description

Bildende Buchstaben – Eins makes language spatial. An original lyrical text, set as a dense block, forms the starting field of the work. Through markings, frames, and drawn connections, individual words and groups of words are extracted from the continuous text and placed in relation to one another.

Within the field of text, this creates a network of nodes, paths, and semantic relationships. Reading no longer proceeds exclusively from line to line. The gaze jumps between highlighted terms, follows lines, and discovers connections that are not immediately visible in the written text itself.

The work thus examines a fundamental principle of the Bildende Buchstaben series: language remains a legible carrier of meaning while at the same time being treated as surface, form, and spatial structure. The text develops its own visual order.

Materiality & Process

The starting point is an original lyrical text, typed in a word-processing program and shaped through its typesetting, block structure, and rhythm. The text page is glued onto paper previously painted with oil pastels, so that the text field and painted ground meet as distinct layers.

Coloured pencils are then used to highlight, frame, underline, or bind individual words and groups of words through areas of colour. Lines connect terms across the text field and form semantic islands and axes of relation.

The drawing does not merely illustrate the written text; it intervenes directly in its order. Within the Bildende Buchstaben series, language becomes visual material and reading becomes a spatial process.

– text-based work/collage (original typed text, layout editing, painted paper, coloured pencils & oil pastels)

Context note

The work belongs to the Bildende Buchstaben series and appeared in *Zwischen den Büchern* (new edition, 2023).

Short description

cosmic Girls stages the body as a cosmic interface: two women lie intertwined, the darker figure resting on the chest of the light-skinned figure and anchoring the scene in an intimate, almost weightless closeness. A field of stellar noise lies over both of them, as though skin were simultaneously surface and sky – bodies become carriers of space. On the left, a dark, splashing field of fragments detaches itself from the scene and shifts the intimacy into a second reading. It evokes eruption, discharge, and the emergence of something new. The work therefore sustains a tension between tenderness and cosmology: closeness as origin, excess as energy, becoming as an uncontrollable process.

Materiality & Process

The work is based on digital montage and strong use of effects: two figurative bodies are placed in a coloured, cloud-like environment and overlaid with star/glitter particles that create depth and a cosmic scale. Contrasts and colour shifts condense the figures into luminous islands in the pictorial space; blends soften the boundaries between body and background. The dark splash forms function as traces of movement – like an eruptive brushstroke, but as a digital gesture – and add an energetic dimension to the intimate contact. Layering is decisive: bodies, light, particles, and fragment fields are stacked so that the image oscillates between eroticism, myth, and science fiction without tipping into a single unambiguous or purely explicit narrative.

Work series

Bildende Buchstaben

Short description

Bildende Buchstaben – Helix organises language as a structure of overlapping strands. The lines of text form a continuous field, while coloured areas highlight individual zones, interrupt them, and stagger them against one another.

The text remains fundamentally legible, but it is not treated as an even narrative flow. Words and passages emerge, disappear again into the surface, and reappear elsewhere as part of a structure articulated through colour. The arrangement recalls a helix whose strands are never fully visible at the same time.

Different colour zones mark different states within this movement: condensation, transition, calm, and renewed emergence. Meaning therefore develops both from the written words and from their visibility, their staggering, and their spatial relationship to one another.

Within the Bildende Buchstaben series, language is thus not only read but treated as a mobile visual structure.

Materiality & Process

The starting point is an original lyrical text, typed in a word-processing program and shaped through its typesetting, block structure, and rhythm. The text page is then placed onto a previously painted ground.

Coloured pencils and oil pastels are used to selectively highlight, frame, underline, and connect words and passages through areas of colour. In this way, semantic islands and axes of relation emerge within the text field.

The staggering of the colour fields is especially important in this work. Each allows only sections of the helix structure to emerge, creating the impression of several strands running in parallel. The work thereby combines language, colour, and spatial order into a form in which reading itself becomes movement.

– text-based work/collage (original typed text, layout editing, painted paper, coloured pencils & oil pastels)

Context note

The work belongs to the Bildende Buchstaben series and appeared in *Zwischen den Büchern* (new edition, 2023).

Work series

Bildende Buchstaben

Short description

Bildende Buchstaben – Hasenjagd organises language as both pictorial space and hunting scene. The starting point is a text assembled from several self-written poems, set as a justified block so that it forms a dense linguistic field. Within this field, individual words and groups of words are highlighted in colour and condensed into figurative forms.

The green form appears as a German Shepherd and becomes the driving force of the scene. A larger word formation outlined in red traces the body of a hare. Above it, further red markings suggest additional hares: because of their imagined distance, they appear only as smaller outlines around words or as dots. Beneath the large hare, the body of a robin takes shape in violet.

Yellow establishes zones of landscape, blue opens a space of sky, and white creates cloud-like areas. This produces a field of tension made up of movement, distance, and direction. Reading becomes a process of following traces: meaning arises not only from the content of the words, but also from their arrangement, their colour-based grouping, and their spatial relationship to one another.

Within the Bildende Buchstaben series, language is therefore used both as a carrier of meaning and as visual material. Words can become figures, movements, and spatial relationships.

Materiality & Process

The starting point is a text assembled from several of the artist’s own poems and digitally arranged as a justified block in a word-processing program. This field of text forms the basic structure of the work. The text is placed on a previously painted ground; watercolour or other areas of colour articulate landscape, sky, and atmospheric zones.

Within the body of text, coloured pencils and oil pastels are used to highlight individual terms, groups of words, and axes of movement. Green forms the German Shepherd, red the hares, and violet the robin. The representation changes with the imagined distance: the large red word formation describes the nearby hare’s body, while more distant hares remain visible only as smaller red outlines around words.

The drawing does not merely illustrate the text; it organises language spatially and turns it into figures, paths, and directions of movement. The text itself becomes the site of the hunt.

– text-based work/collage (original typed text assembled from several self-written poems, layout editing, painted paper, coloured pencils & oil pastels)

Context note

The work belongs to the Bildende Buchstaben series and appeared in *Zwischen den Büchern* (new edition, 2023).

Short description

pesonnia shows a figure like a botanical totem: a flower as head, a fibrous plant body as torso, and below it a cluster of fronds and grasses – a “person” made of vegetation who appears more like a carrier of frequency than a conventional figure. The background lies in warm yellow and orange tones like an artificial solar space; everything feels charged, as though the scene were standing under a second source of light. At the upper left, a circular sign places a seal on the surface – like a marker of affiliation or a coded source of energy. Read in relation to the poem, the image moves in a clear direction: collective charging, warmth as a shared achievement, and the emergence of strength through synchronisation.

Materiality & Process

The work is created digitally from photographic plant elements that are cut out, scaled, and assembled into a central figure. The collage remains visible: edges, blends, and breaks in texture make it clear that this body is composed – built rather than grown. Colour corrections and contrast shifts draw the fragments into a warm overall atmosphere. The pictorial space acts like a second sun, more a state than a real source of light. The graphic seal in the upper-left area additionally stabilises the composition and places a layer of signs over the botanical body – like a frequency marker or emblem framing the “solar space”. In this way, the work combines organic material and symbolic placement into a figure that functions like a resonating body.

Botanical references (Index)

Paeonia lactiflora · Helianthus annuus · Cortaderia selloana (fronds/legs) · various meadow grasses (back)

Context note

The related text “Das Erwachen der zweiten Sonne” is part of *Zwischen den Büchern* (new edition, 2023).

Short description

psychedelic lover swinging 60's functions like a poster signal: a black stage, golden lettering, a single figure as icon. A circling frame of reddish-yellow tracks encloses the motif like a hypnotic loop – more vibration than ornament. The woman in a 1960s outfit stands as if inside a display: cut out, isolated, present like an emblem of a fantasy of freedom, style, and performative ease. The text names this projection directly and at the same time turns it into surface: “psychedelic”, “lover”, “swinging” – terms that are more atmosphere than statement. Retro aesthetics itself becomes an alluring, circling field of signs.

Materiality & Process

The starting point is an image sourced online, which is reframed in image-editing software and transformed into a poster-like composition. The “Nocker” typeface deliberately sets the tone toward 1960s psychedelia: curved forms, ornamental details, clear hierarchy. The background is kept as a deep black field so that text and figure stand out as strongly as possible. Glitch/interference effects and hard cut-out edges leave the construction visible. The remix is allowed to look like a remix; no attempt is made to claim an “authentic vintage” illusion. The circling frame acts like a visual frequency – a circulation that makes retro legible as a loop and desire as repetition.

(online image, “Nocker” typography, image editing/glitch)

Short description

Psychedelic swinging turns the sun into a vibrating stage: a greenish, flickering core fills the centre, as though the surface were made from interwoven lines and currents. Above it lies the title in opulent lettering like a banner, almost a spell that shifts the motif into retro psychedelia. Light sources and optical circular effects sit around the edges: flares, rays, a disc-like pattern at the lower right – elements that stage perception as oscillation and rotation. What remains is a state of rhythm, overstimulation, and hypnotic order; the sun is only its point of departure.

Materiality & Process

The starting point is an image of the sun sourced from the internet, digitally recoded and reorganised with layers of effects and text. Colour shifts move the motif into an artificial green palette; contours and textures are intensified so that the surface resembles an electrical fabric. Typography is placed large across the core and used as a compositional anchor: ornamental letters, strong contrasts, poster-like presence. Additional effects (lens flares, starbursts, circular patterns/overlays) build a second space of optical phenomena that makes the image legible as a visual frequency. The visible layering – source image, recolouring, type, effect space – is itself the method: remix rather than depiction of nature.

References

Image source: Sun (internet) · Font: “Flower” Technique: digital recolouring, text overlay, light/circular effects (compositing)

Short description

Mother of Nature merges portrait and landscape into a figure that is more state than person: within an oval zone, a face appears half visible, half overgrown – as though nature were seated deep inside the body and speaking outward from there. A point of light above the head acts like a second sun or a focus of thought; around it, coloured clouds and transparent circles drift through the scene, turning the meadow into a psychological climate. The image shifts between protection and overwhelm: nature as a comforting shell, but also as a force that dissolves identity. In the context of the related text, the scene becomes a counter-image to the experience of abandonment. The beloved moves away from the centre; origin and renewal take their place.

Materiality & Process

The starting point is a meadow image (photograph, originally from a known source), which is heavily reworked and overlaid digitally. Colour shifts, saturation, and soft layers of texture create a psychedelic veil that leaves the photographic basis recognisable while pushing it toward vision. The face is inserted as a second layer into an oval mask and blended with the landscape so that skin and vegetation merge (blending/transparency/multiple exposure). Light and circular overlays add further organising signs: focus, aura, resonance spaces. The editing recodes the source material: meadow becomes interior, portrait becomes landscape, nature becomes mother figure.

References

Image source: Meadow photograph, known source; digitally reworked Lyrical reference: “Das Geschenk für eine verlassende Frau”, included in *Zwischen den Büchern* (new edition, 2023) Technique: digital colour shifting, masking (oval), multiple exposure/blending, texture and circular overlays, light-ray effect

Short description

selfdigitalisation presents a self-portrait as a divided state: the left half of the face breaks down into interference, scratches, and data noise – as though identity were being recoded and, in the process, its memory were losing a fixed form. The right side remains comparatively calm and observant, almost documentary, which makes the rupture feel even harsher. In the hand lies a red circular sign (hagakure), like a seal or a core. It becomes a point of reference within the pictorial space. The background remains a room, everyday life, privacy – and precisely because of that, the transformation of the body becomes all the more pronounced. The image speaks of self-discipline and self-design. The code of honour takes graphic form and gathers the disturbance without resolving it.

Materiality & Process

The starting point is a photograph that is divided into two registers in image-editing software. Digital interventions dominate the left side: glitch structures, hard contrast edges, fragmented pixel grids, and streak-like distortions make the face look “compressed” or damaged. The right side stays closer to the photographic material; slight colour shifts and overlays are enough to mark the scene as deliberately manipulated without destroying it. The hagakure sign is embedded as a graphic element in a luminous red cloud and fitted into the hand position so that it acts like a concentrated focal point – a symbol asserting an attitude while the image simultaneously makes a process of disintegration/transformation visible. The editing carries the concept: technology becomes a metaphor for self-examination, self-control, and the question of how the “self” remains stable under pressure.

Short description

hagakure uses a sunflower (*Helianthus annuus*) as the carrier of a sign: the blossom fills the image like an emblem, while its leaves appear electric and unreal through the colour shift – more signal than botany. The natural centre of the flower is replaced by an embedded hagakure motif, circularly interwoven like a seal. This turns the flower from a natural object into an interface: a ring of energy on the outside, a coded core within. The image reads as a reinterpretation of growth through symbolism – as if a plant had become the carrier of a hidden program.

Materiality & Process

The starting point is a photographic image of the sunflower that is radically recoded through image editing (inversion/shifts in tonal values, saturation, and contrast), causing leaf and background to move into an artificial, almost thermographic palette. The hagakure sign is then integrated as a stamp in the centre of the flower and treated as though it had grown there – a structural core of the blossom. Edges and transitions are emphasised so that the form appears imprinted; at the same time, texture and image noise in the background keep the photographic basis present. The result is a hybrid surface combining natural detail and graphic inscription: photography as carrier, editing as transformation, sign as centre.

– digital image (photographic basis, colour recoding, modern hagakure sign as an embedded flower centre)

Short description

Kolibri gives flight the character of resistance under pressure: a small body holding its ground against an oversized environment. The figure appears like a hybrid of animal and signal – a hummingbird that can simultaneously function as ornament, warning sign, and bearer of hope. The background consists of an energetic cloud. Pink, turquoise, and yellow form temperature zones around the bird and turn the image into a weather system of mood. The motif therefore shifts between lightness (hovering) and threat (being enclosed), without fixing itself to a single reading.

Materiality & Process

The starting point is a pencil drawing: a clear silhouette, emphasised wing structure, and an elongated beak acting as a directional vector. In GIMP, the drawing is translated into an artificial colour logic: hard contrasts, grainy textures, an almost poster-like appearance. The colour fields form an aura or zone rather than a naturalistic environment – distancing the image from documentary representation and shifting the motif toward allegory. The friction between the trace of the hand (drawing) and digital transformation is decisive: the image remains visibly physical in its making, yet is transformed into a social atmosphere.

Context note

The work appeared in *Zwischen den Büchern* (new edition, 2023).

Short description

I love Flowers shifts attention and priority: at first, a dense artificial flora appears – Thuja structures frame the image like curtains, while blossoms in violet, orange, and pink glow between them and leaves cut into the surface like arrows. Only on a second reading does the scene change: fragmented bodily forms and skin tones lie between the plants like unsettling inclusions. Eroticism is deliberately reduced to secondary information; the image tests how long perception remains within the “botanical” before recognising the collage as a space coded by the human body. A tension emerges between looking and discovering: nature as camouflage, fragment as disturbance, gaze as search movement.

Materiality & Process

The work is created from computer/camera material and digital montage: plant motifs are collected, cut out, layered, and organised in dense strata. Colour shifts and contrast are used to make the botanical elements dominant over the fragments of skin – the plants are louder, clearer, more foregrounded. Body parts appear only as fragments, partly concealed or fitted into the vegetation so that they function more as formal material than as a “scene”. Edges, transparencies, and the visible logic of collage keep the construction open: nothing is seamless; everything remains recognisable as placement. The named species function like an index or herbarium list – a scientific frame that directs perception toward plants before the second level, the positioning of the fragments, becomes conscious.

Botanical references (Index)

Thuja orientalis “Elegantissima” · Cocos nucifera · Kniphofia praecox · Betula pendula · Ilex aquifolium · Gentiana pyrenaica · Dahlia semi-cact. “Cha cha”

Short description

believe uses the body as a cut-out: a human silhouette appears as if removed from the image and at the same time refilled with a green field. The background remains soft and flat – yellowish, leafy, like an overexposed memory – while the central form acts as a concentration of density. At the bottom, the word “believe” appears as a quiet command or act of self-suggestion, shifting the work between hope and compulsion: belief as a lifeline, but also as pressure to hold oneself together.

Materiality & Process

The work is based on a digital composition of photographic textures and a graphic negative form. The silhouette is used as a mask: inside lies a grass-like structure in saturated green, while outside sits a diffuse, warm-yellow field reminiscent of foliage/undergrowth or patches of light. The hard separation of inside and outside creates a threshold space: the figure is present, but remains “permeable”, more surface than body. Typography acts as an active anchor in the image and directs perception toward attitude and decision. Slight blur and layering in the background keep the whole work suspended between a nature image and a mental state.

Plants: Betula pendula · various meadow grasses Font: “Albany”

Short description

Marinchens Lampion presents ascent as a consequence of attention: a figure stands in a dark space, yet its gesture draws all light toward itself – the arm reaches into a pink, glowing core that resembles a lantern, fruit, or second sun. Rays shoot out from this point in every direction. The background accelerates. The body is set as a silhouette with hard edges, as though cut out by the light and simultaneously overstimulated by it; the posture feels light, almost floating, while still remaining physical. In relation to the text, the “lantern” becomes the carrier of a new perception: a small glow gives the scene a new direction until the figure tips out of its contact with the ground and into another expanse.

Materiality & Process

The work is based on a private digital image source that is strongly recoded through editing. Radial ray/burst effects elevate the lantern point into the centre and make it legible as an energy core; contrast and colour shifts push the scene into a night spectrum with neon-like accents. The figure is cut out and embedded in the logic of the rays so that contours and edges remain deliberately visible (montage rather than illusion). Noise, pixel structure, and hard transitions stay visible and form part of the visual language. The glow appears technically overdriven, almost like too much energy for a small lantern – in keeping with the idea that a small object alters the physics of the scene.

References

Lyrical reference: “Das Marinchen und der Lampion”, included in *Zwischen den Büchern* (new edition, 2023) Image source: private digital source (digital source image), reworked Plant/Index: Physalis alkekengi (Chinese lantern plant) Technique: cut-out/montage, colour shifting, ray/burst effect, contrast and texture intensification

Short description

between Lines negotiates orientation as teamwork: two speech bubbles float in a cloudily swirling field of colour and carry on a conversation that feels both banal and existential. “Did i left the right colour in this picture?” meets “Don’t take a mind on it and let’s get straight ahad!” – a small agreement that direction does not require perfection as long as movement happens together. The background circles and curls: colours flow into one another, form knots, lose their contours, and find them again. The image makes searching visible – for the “right” colour, but also for an attitude that allows mistakes and still moves forward.

Materiality & Process

The work is digitally constructed: soft, semi-transparent colour fields are layered and swirled, creating an impression of flow and permanent mixing. The speech bubbles are placed above them as clear graphic markers; their contours stabilise the image while the colour background remains unstable. Contrasts (green/orange/red/violet) and blur create a kind of visual noise that evokes “searching” more than “finding”. Text functions as a steering impulse: it frames the colour movement as a decision-making process and shifts the question from “Is it right?” to “Does it carry us forward?”. Colour mixing thus becomes a metaphor for moving ahead together. Precisely the lack of clarity keeps the movement going.

Short description

Ronin presents a figure as a body of signs: a standing samurai within an oval field, sword in hand, surrounded by roughly placed forms that can read as shield, moon, or stage. On the right, ray-like segments fan out from the edge into the space – as if a second zone were opening: waves of attack, rays of time, or an arena placing the body within a larger order. Across the digital variants, the scene repeatedly shifts between legibility and dissolution: sometimes the warrior is almost only an outline in the noise, sometimes immersed in a coloured atmosphere. This corresponds to the logic of the texts: holding one’s ground becomes a condition that repeats, wears down, and still asserts itself – “standing” as resistance to infinity.

Materiality & Process

The starting point is a pencil drawing, scanned and digitally reworked into several versions. The scan carries the trace of the hand (lines, hatching, differences in pressure) and is translated through digital intervention into different registers: jumps in contrast and tonal value condense the body into an icon or make it almost disappear in image noise; colour variants establish moods (cool/dusty, alarmingly red, extreme black-and-white) and shift perception from narrative toward structure. Grain, pixel remnants, and hard edges remain exposed and act like material of the “fight”. The image presents its own processing as abrasion and repetition. The series of variants therefore resembles an exercise in endurance: the same core under constantly changing conditions.

References

Medium/Tools: scanner, computer; pencil drawing as source Lyrical reference: “Die Begegnung des Kriegers und des Kämpfers” & “Wie der Samurai zum Ronin wurde”, included in *Zwischen den Büchern* (new edition, 2023) Technique: scan; digital tonal/contrast editing, colour variants, noise/grain effects, repeatedly exported versions (serial character)

Short description

Zwischen den Büchern presents literature as a transitional space made of writing, colour, and overlay. Traces of text extend across the entire surface, coming forward, fading again, and becoming pictorial material themselves. Front cover, spine, and back cover are formally separated, yet remain connected through the shared field of text and softly flowing colour zones. The cover therefore appears like a state between reading and remembering, between visibility and dissolution. The large black title rests calmly above the shimmering ground and sets a clear form against the circling movement of the writing. The “between” of the title becomes the organising principle of the image: text passes into colour, trace, and surface.

Materiality & Process

The design is based on digitally edited text fields overlaid with translucent zones in pink, yellow, turquoise, and orange. White vertical fields for the back cover and spine establish order without completely interrupting the continuous textual field. Typographically, the front cover is clearly structured, while the back cover transfers the blurb into a calm reading field. The decisive tension lies between legibility and atmospheric dissolution: the writing remains recognisable but is transformed through transparencies, overlays, and colour shifts into a pictorial surface.

References

Title: Zwischen den Büchern Author: Jeremias Erdogan Print edition: ISBN-13 978-3734702730 E-book edition: ASIN B0C2W4YJLX Context note: Zwischen den Büchern was first published in 2013 and has been available since 2023 as a completely revised new edition. The same cover principle was retained for the English edition and adapted linguistically.

Short description

Work @ Amazon places work directly on the body and makes it visible as experience. On the right, the author stands frontally against a dark background wearing an orange high-visibility vest; on the left, an enlarged detail of the same vest appears beneath a circular field of text. In this way, the cover splits the levels of person and material: the full figure becomes legible as the carrier of an experience, while the detail of the vest becomes the sign of a work regime that makes the body visible and at the same time codes it functionally. The title lies large across chest and abdomen and almost resembles an additional uniform print. The company name thereby inscribes itself into the figure. The black background isolates the person and removes any concrete environment; warehouse, technology, and workplace are omitted. Precisely this shifts the image from reportage toward condensation. The workplace is absent; what remains is its trace in posture, clothing, and gaze.

Materiality & Process

The starting point is a photographic image transferred into a strictly symmetrical cover layout. Semi-transparent white fields – a circle on the left, a rectangle on the right – create legibility without entirely erasing the image carrier. The reduced colour scale of orange, black, white, and skin tones adopts the signal aesthetics of the safety vest and turns the book itself into a kind of warning field. The serif type deliberately rubs against corporate sobriety and sets personal account, self-description, and brand name against one another on the same surface.

References

Title: WORK @ AMAZON Author: Jeremias Erdogan Publication date: 12 February 2015 Extent: 48 pages ISBN-10: 3737530939 ISBN-13: 978-3737530934 Publisher: epubli GmbH Context note: The book has not been printed since 2023 because processes at Amazon have changed and the condition it depicts is no longer current.

Short description

holdON negotiates connection as a risky leap across distance. Two bodies reach toward one another. Between them, a field of noise, reflection, and interference vibrates. On the left, a figure tips out of an earth-like sphere; on the right, a second figure separates from a bluish world. Both appear at once to be falling and reaching, pulled and held back. The centre of the image acts like a disturbed seam: a symmetrical, dark core that promises closeness while simultaneously separating. A relational system of gravity, withdrawal, and threshold emerges. Holding on remains a precarious decision at the moment of translation from one body to another.

Materiality & Process

The work is based on digital montage and painterly reworking. Planetary image bodies function as lateral stages from which the figures are detached, cut out, and newly anchored within the space between them. Structures of noise, grain, and mirroring condense the centre of the image into a field of resistance. An active zone of density, irritation, and refraction works between the figures. Colour interventions in pink, green, and blue shifts, together with glitch-like edges and hard contrasts, further destabilise the bodies; they appear partially overcoded, marked, almost overwritten by their surroundings. The visible edge is decisive: cut-outs, colour fringes, digital artefacts, and ruptures expose how the image is constructed. Connection appears here as an interference-prone coupling across a threshold; fusion is not required. This very question of support, distance, and precarious attachment is later transferred in the canvas work into a reduced, painterly spatial order.

References

Medium/Tools: computer; digital painting software; image-editing software Technique: digital painting; digital montage; compositing; contrast, colour, and noise processing Development of the work: The digital image logic of distance, threshold, and precarious connection is later condensed through painting and spatial structure. Image logic: Two bodies between separate spheres; the centre as interference zone and seam; connection as risky coupling opposed to a stable unity. Context note: The digital version was used in the new edition of *Zwischen den Büchern* (2023) to accompany the piece “Das Treffen der Welten”. In the context of love and relationships, holdON stands there for the possibility of an encounter that promises support while remaining exposed to the dangers the universe holds for such encounters. Distance, uncertainty, and the forces between two people become part of a space in which closeness can emerge, shift, or be lost again.

Short description

Surfin uses movement as a substitute action: a figure surfs through a dark, almost cosmic ocean. The wave on the right consists of a meadow/plant surface – nature breaks into the scene like surf. The figure’s head is a blossom and the body carries floral inclusions; the whole image resembles a hybrid of travel poster, dream, and gesture of resistance. On the left, a glaring point of light ruptures the horizon and turns the scene into a stage: brilliance, departure, “somewhere else”. Beneath the surface lies a very sober impulse: the image travels when the body cannot. Surfing therefore becomes a metaphor for circulation – from work to place, from gaze to gaze – despite financial limits.

Materiality & Process

The work is based on photographic material that is digitally assembled and strongly processed with effects. Water surface, wave edge, and figure are constructed as separate layers; hard cut-outs, glow effects, and glittering edges visibly mark the collision of image worlds rather than concealing it. Plant motifs are used as texture and body material: once as the “wave” (a topography of flowers/meadow), once as the figure (flower head, botanical inclusions), shifting the motif away from sport/holiday toward botanical mythology. Ray, star, and contrast filters move the scene into an artificial night aesthetic. The beach recedes; what remains resembles an inner screen. The result is a portable, reproducible form of travel – an image built for exhibition and circulation.

References

Medium/Tools: photography, digital image editing/photomontage Intention/Context: conceived as a transportable work for exhibitions Plants/Index: Caesalpinia pulcherrima · Achillea millefolium · Betula pendula · Taraxacum sect. Ruderalia · Ligustrum vulgare

Short description

Hurra es ist ein Staubsauger shifts anatomy into everyday comedy: a profile figure resembles a cut-out body diagram. In the abdomen, where an organ might be expected, sits a bright vacuum-cleaner-like sign – as though the body had installed its own household logic. The yellow background turns the scene into a poster moment: loud, direct, without spatial depth, and therefore almost iconic. Inside and outside remain permeable; spine and skull are suggested, but not “medically”, more like a deliberately simplified self-explanation. Humour relieves the image: self-image as machine, but in a friendly register – cultivated humour rather than ridicule.

Materiality & Process

The figure is produced analogously with oil pastel and coloured pencil: oil pastel establishes the body as a soft, forceful mass in warm brown and ochre tones, while turquoise contours stabilise the silhouette. Coloured pencil sharpens lines and renders the internal sign graphically clear so that the “vacuum cleaner” motif remains legible as a pictogram within the body. The background is then added digitally through photo editing: a flat, monochrome yellow that radically isolates the analogue body and shifts the work toward poster/signal image. Hand trace and digital placement therefore meet directly: organic pastel texture against a hard mediated field – the humour emerges precisely from this collision.

Short description

Sunplant eat World places hope and dystopia within the same seed: in a black, star-filled space grows a plant whose upper body resembles a sun – a blue-green glowing core that appears more like an energy source than a fruit. Two green leaves rise from the stem like a classical promise of beginning and upright growth. Below, however, root-like threads reach into yellow bodies – as if derived from sun or moon – and break them into fragments. Growth becomes access and consumption. The plant orients itself toward light while simultaneously feeding on world-matter: germination as rescue and as appetite, both at once.

Materiality & Process

The work is created entirely by hand on paper: oil pastels establish the large masses of colour (black field, yellow forms, sun-like core) as a forceful, waxy surface; coloured pencil sharpens contours and draws the fine root/thread structures. The sheet is then scanned and only minimally continued as a digital image. The grainy cosmic impression is the central digital intervention: a texture/grain effect is laid over or intensified in the photo program, condensing the background into star-like noise. The image logic therefore remains handmade, while the digital grain shifts the ground into a cosmic “system space”.

References

Medium/Tools: oil pastels, coloured pencils on paper; scanner; computer Digital interventions: texture/grain effect (photo software) Context: part of *Zwischen den Büchern* (new edition, 2023) Thematic axes: hope/germination; dystopia/devouring; sun as germ core; growth as access

Short description

Tree of All uses nature as a sign-producing machine: a dark, charcoal-like trunk divides the image like a fracture line; on the left, coloured fields in green, turquoise, and glowing orange/pink grow into a kind of crown or surge of energy. On the right, a brownish form condenses into something that suddenly becomes legible – as though a “thumbs up” were emerging from organic matter. The image therefore shifts between landscape and gesture: nature becomes environment, signal, approval, and perhaps even ironic feedback. The composition keeps both possibilities open: image of growth and pictogram, hope and comment.

Materiality & Process

Charcoal establishes the trunk and hatching and thereby constructs the supporting framework: rough, dark, with visible friction against the paper. Oil pastel places the bodies of colour over it – on the left, luminous transitions from yellow/orange to pink, above them green-turquoise sign-like forms and a spiral centre that acts like a vortex or core. The right side remains earthier: brown oil pastel models a massive, almost fleshy structure whose contours are guided so that the impression of a raised thumb can emerge. The juxtaposition of registers is decisive: charcoal as structure/carrier, oil pastel as energy and volume. The tree follows no botanical accuracy. It functions as a readable system of trunk, crown, and sign.

References

Medium/Tools: paper; charcoal (trunk, hatching); oil pastel (colour fields, body form)

Short description

destroyed by hand of apes lets destruction begin with a grip: a large, roughly textured hand dominates the right side of the pictorial space and holds a small, fragile object resembling a device or core. From the left, a system of coloured lines approaches – pink and green – evoking supply, circulation, or technical dependency. In the centre sits a labelled node (“C4”, “TNT”) that organises danger like a system of tags. The surrounding space is dark but full of cracks and splinter-like traces: it reads at once as a cosmic field (Milky Way/universe) and as a white vein, an interior of the body. This double exposure makes the image uncomfortably precise: violence as cosmic gesture and as intervention in a circulatory system.

Materiality & Process

The work begins analogously on black card with white chalk and metallic pens: hand, object, and lines are built up as material, scratchy marks, while the dark support makes the forms appear carved out of nothingness. The image is then scanned and further composed in photo software. Crucially, the crack/hatching structure in the background is digitally intensified into universe or Milky Way; traces of paper and chalk form only part of the source material. The result is a background that offers spatial depth (cosmos) and bodily logic (white vein) simultaneously. Digital editing also separates the black space from the object zone more sharply, making hand and lines appear as interventions in a “system field” rather than as isolated motifs.

References

Medium/Tools: black card; white chalk; metallic pens; scanner; computer/photo software Digital interventions: background texture as universe/Milky Way (crack/vein reading), noise/grain layers, contrast/tonal intensification, compositing Image logic: hand as dominant intervention; lines as circulation/supply; “C4”/“TNT” as warning and violence markers; background as cosmos/vein

Short description

A portrait-format abstract digital image on a black ground. The surface is traversed by white, swirling, scratch-like structures reminiscent of scanned steel wool, smoke, dust, or rubbed chalk. Numerous soft, circular spots of light in yellow, orange, white, and red lie over them like unfocused reflections or lights in motion.

At the centre, an irregular vertical dark form runs from top to bottom. It resembles a torn-open or cut-out silhouette and is partly overlaid by coloured circles of light. The figure can be read as Demeter: she carries a vessel and pours a red liquid that appears as blood onto a young female figure. This points toward fertility.

In the lower-left area is a large red circle containing the young woman. She lies stretched out on a wall-like structure approximately torso-high, which appears to be made of blood. The depiction is glossy, bodily, and at the same time estranged. At the lower right is a small orange-green monogram or sign.

The overall impression is high in contrast, rough, and dynamic. The image appears simultaneously technical, material, and bodily.

Materiality

Steel wool, photographed and scanned; digital image composition

Process

Computer, camera, image editing

Short description

TIKI opts for intensification rather than narrative opening. The cover is organised through a hard red-black dramaturgy that alarms first and illustrates only afterwards. On the right, the title dominates in oversized red letters against black; the letters press into view like pictorial bodies. Two cropped faces are montaged into the right half of the image and remain only partially visible, shifting between observation, threat, and projection surface. On the left, the back cover counters this with a rough, grainy red field: a black text block above and a small author portrait below. The cover divides front and back into two registers: typographic assertion on one side, biographical location on the other. The image creates a condensed atmosphere of control, unease, and division; a smooth thriller surface would hardly suit it.

Materiality & Process

The design is based on photographic source images that are digitally given strong contrast and reduced chromatically to a black-red spectrum. The faces appear as cut-out fragments inserted into the typography, turning the lettering itself into a carrier of tension. The back-cover background uses grain rather than a smooth field, moving the design away from neutral book graphics toward a deliberately charged sensory surface. The central axis of the spine formally stabilises this friction; the serif type aims at assertion and resistance rather than elegance. The restriction to red, black, cropping, texture, and portrait produces a dramaturgy in which the title directly occupies the field of vision.

References

Title: Tiki: Tintenkiller / TIKI Author: Jeremias Erdogan Publication date of the Kindle edition: 10 November 2023 ASIN of the Kindle edition: B0CN3C5W63 Extent of the Kindle edition: 211 pages Publisher information for the Kindle edition: Books on Demand, 1st edition Print edition: ISBN-13 978-3757892326, BoD – Books on Demand, publication date 29 October 2023, 204 pages Context note: The cover was retained for the later edition; the content changed, not the design. The date of this entry therefore refers to the creation of the cover, not to the new edition of the book.

Short description

Blow translates a state of waiting into a physical image: a man hangs in space, held by an umbrella that is both protection and parody – its shape recalls a bra, and thus a closeness that can only be grasped here as construction. On the right, a female figure fills the surface, built from soap bubbles: a voluminous, iridescent field promising closeness while offering no solid surface. The man hangs within this bubble-world as if caught in a foreign rhythm – neither inside nor outside, more suspended than embraced. Small horses circle along the umbrella’s ribs: they function like a carousel of thoughts, simultaneously maddening and propelling – encouragement and source of unrest at once. The theme of the poem (sorrow, no reply, friendship denied) becomes pictorial logic: support by something fragile, movement without arrival.

Materiality & Process

The work is digitally constructed and uses transparent layering. The soap-bubble figure is formed from repeated circular shapes and overlays that simulate volume without providing material: body as effect. The man is placed as a silhouette within the bubble atmosphere; his position remains deliberately unstable, as though gravity were suspended from a single point. The umbrella/bra hybrid functions as a central interface: grid-like ribs are graphically emphasised so that they act as both support and cage. The horses are mounted as repeated signs along the ribs; their circular movement is suggested through sequence and rhythm rather than narrated. Colour fields and patterns (cellular textures, soft backgrounds) make the whole image resemble a psychological diagram: desire as construction, waiting time as suspended state.

References

Lyrical reference: “Nullnummer”, part of *Zwischen den Büchern* (new edition, 2023) Composition: man in/near soap-bubble figure; umbrella with bra-like appearance; horses along the ribs as circular/carousel symbol (unrest/courage) Technique: digital illustration/montage, transparent circle overlays (soap bubbles), silhouette work, repetition/rhythm as substitute for movement

Short description

Tapesalat turns “tangling” into physiognomy: a face looks straight ahead, smooth and almost synthetic, yet two tape reels sit above the forehead like optical attachments – thought as playback device, memory as mechanism. Behind and around the head, blue tape material proliferates in loops, knots, and smears; it acts like a cassette-based nervous system filling the space. The figure remains calm, almost machine-like, while the surroundings display loss of control: tape that can no longer be wound neatly. The motif therefore shifts between order and disturbance: identity as playback, consciousness as tape transport, error as structure.

Materiality & Process

The work combines 3D/rendering and photographic texture. The face is created digitally (Nomad app as the modelling basis, further processing/staging in Blender) and then assembled in GIMP with photographic materials. The tape elements derive from real tape that is tensioned and photographed; the recording preserves shine, kinks, and physical tension. Cassette/reels are integrated as graphically clear objects to “upgrade” the head like a device. Scanner/computer serve the transfer and layering process: colour balance, contrasts, and edges are adjusted so that the artificial smoothness of the face collides with the chaotic material trace of the tape. The result is a hybrid portrait in which the analogue element (tape) provides the disturbance zone and the digital element (face/render) provides the controlled surface.

Medium/Tools: photograph; computer; scanner Software: Nomad (face/model), Blender (3D/staging/render), GIMP (compositing/image editing) Materials/Index: tape (tensioned & photographed), cassette/reels Technique: 3D render + photographic textures, montage/layering, colour and contrast matching, emphasis of edges/shine

Short description

Cubic Alien presents a being that seems to think inside a container: a transparent cuboid frames the scene as laboratory, display case, or cage. Inside sits a simplified, almost toy-like head figure with a beak/wedge form and a single concentrated eye – more interface than face. A dark, spherical body hangs within it like a core, organ, or counterweight. Everything is permeated by turquoise and cold blue; the surface appears smooth, yet simultaneously “scratched” and used. The image shifts between cuteness and estrangement: an alien as controlled object, protected and isolated at the same time within its box.

Materiality & Process

The starting point consists of photographic images of steel wool or steel-wool-like structures, used as texture material and embedded through digital compositing into the cuboid space. The cuboid is constructed as a transparent frame whose edges, corners, and lines of sight remain visible and whose depth is produced through overlays. The central figure is built from simplified volumes and then shifted chromatically into a cold palette; highlights, shadows, and hard edges emphasise the impression of a synthetic body. Camera/computer form a double track here: photographic texture introduces physical unrest, while digital editing builds the “container” and artificial anatomy. The image translates material (steel wool) into a technological narrative: interiority as an object within a transparent system.

References

Medium/Tools: camera, computer Material/Index: steel wool (photographic texture/structural material) Formal principle: transparent cuboid/container as pictorial space (display case/laboratory/cage) Technique: digital montage/compositing, colour shift into a cool palette, emphasis of edges/shine, depth through overlay

Short description

Bath places relaxation in an impossible location: a bathtub lies like an island body on a dark water surface; the actual room around it seems to have disappeared. A greenish figure rests inside, stretched out, its pose unmistakably private and relaxed – yet the surrounding environment remains cold, heavy, almost endless. The water in the tub is bright and clear, while the lake beneath is black and grainy: two liquids, two moods, a rupture. The red marks on the skin act like small disturbances in the image of rest – not loud, more like signals one might overlook in passing. The work becomes an image of retreat exposed in the open and therefore vulnerable: intimacy as an exposed scene.

Materiality & Process

Bathtub and figure are made by hand: watercolour builds the surfaces (tub, water, body) in soft transitions, coloured pencil sharpens contours and details, and red oil pigmentation places isolated marks as physical accents on the figure. The background comes from a photograph of a lake from the artist’s own archive and is digitally edited: tonal values are darkened and the texture adjusted so that a heavy, grainy skin of water emerges, carrying the tub like a cut-out object. Two material registers collide in this montage: handmade, warm corporeality against photographic depth and coldness. The tension of the image comes precisely from that contrast.

References

Medium/Tools: watercolour, coloured pencil, red oil pigmentation; camera/photo archive; computer/image editing Background image source: artist’s own lake photograph, digitally darkened/textured Technique: analogue painting/drawing + digital montage (compositing), tonal/texture control

Short description

Feuertanz shows community as a framed section: a construction trailer stands frontally in the pictorial space, almost like a small theatre. Through the large window, a fire appears as a red centre, with a chain of black figures in front of it holding hands and dancing in a circle – reduced to silhouettes, yet unmistakably readable as ritual. The smaller side window acts like a second channel of vision: a quiet secondary space. It explains nothing; it simply holds the gaze. Around the trailer begins a dark digital background of disturbances and colour fields – as though the world outside were made of noise, memory, and residual light. The fire becomes an interior of warmth, and the image shows how closeness first emerges through framing.

Materiality & Process

The central elements are initially made by hand: the construction-trailer form, window areas, and fire image are worked in watercolour and opaque white on white paper, with edges deliberately left slightly irregular so the hand remains visible. Black card serves as a contrasting material or dark field that is later photographed/integrated. The parts are then digitised by camera and assembled on the computer: the background is digitally generated/overlaid with grainy textures, dark fields, and coloured interference zones that hold the analogue scene like an island within the image. The window and the “opening in the trailer” are the decisive interfaces. As frames within the frame, they hold the dance around the fire as an observed, enclosed movement.

References

Medium/Tools: camera, computer Analogue materials: watercolour (watercolour supplies), opaque white, white paper, black card Digital interventions: compositing/montage, digital background (texture/noise fields, colour disturbances) Motif: window + construction-trailer opening as viewing channels; chain of silhouettes as “Feuertanz” ritual

Short description

Zombie shows the motif in an early form that is still graphically condensed: a face emerges from a black field and is surrounded by a ring of hands. In this version, the hands are still clearly recognisable as hands. Through repetition, however, they lose their individuality and form a serial pattern of grasping – a pressure directed toward the centre from all sides. Between the grotesque-looking teeth lies a bone with flesh-like remnants. The skull appears to hold it in place or reach for it; the mouth thus becomes at once a zone of food, blockage, and bodily attachment.

Another layer of the work developed from experiences in my work as a nursing care assistant in a residential care home and from accompanying people who were dying. Proximity can take very different forms there: love and affection stand alongside withdrawal and isolation; in people with dementia, the perception of closeness, presence, and relationship can also change. Death therefore appears not only as an abstract ending, but as a physical and interpersonal situation.

A further influence was a visit to the Catacombes de Paris. The immediate juxtaposition of human bones became, for me, a strangely contradictory image. Regardless of the historical reason for their arrangement, my personal perception gave rise to the idea that the dead there do not lie alone. Precisely this admittedly absurd reading could appear like a final sign of closeness or connection.

From these impressions developed the idea of a “Fleischesliebe” (“flesh love”), viewed from several perspectives. For the maggots, the remaining flesh is food and the basis of life; they remove the last flesh from the bone. The skull holds the bone between its teeth and itself appears to be part of this bodily relationship. The viewer, in turn, stands outside this context and initially recognises hardly any love in it, but rather decay, disgust, and horror. This contradiction is essential to the work: what signifies connection within a biological or bodily cycle appears as horror from the outside.

Materiality & Process

The work is laid out on black card, whose darkness actively carries the pictorial mass. White chalk sets hands, contours, and hatching as scratchy, nervous traces, while metallic pens create isolated zones of shine and chromatic friction in the face and mouth/object area. The forms appear as though they had been pulled or scraped out of the dark surface. The analogue source is then scanned and digitally condensed further: contrasts, grain, and edge treatment are adjusted so that the tension between surface and figure increases. What matters here is the optical pressure of the image – sign, repetition, and blockage. This graphic condensation is precisely what the later relief work translates into material, haptic pressure.

References

Medium/Tools: black card; white chalk; metallic pens; scanner; computer Technique: analogue drawing/painting on a dark support; scan; digital composition and contrast enhancement Work relation/development: precursor to the 2024.11 “Zombie”; the visual logic of hands, grasping, bone, and blocked mouth area is later materially articulated as a relief Visual logic: hands as a pattern of grasping; bone between the teeth; mouth area as blockage and bodily attachment; social pressure through envy and resentment – initially graphic, later haptic Content reference: experiences of accompanying people who were dying; closeness and isolation; dementia; personal perception of the Catacombes de Paris; “Fleischesliebe” as a contradictory connection between body, food, decay, and closeness

Short description

Steamworld presents a landscape like a decommissioned stage set: a broad yellow field, a pale sky above it, and a large round body on the left like a planet or lamp. In the foreground stands improvised furniture – chair and table – as though everyday life and rest had entered a zone that is no longer truly habitable. Beside it sits a technological hybrid being: a device/body with a wrench leg, a wire-like limb, and a small display for a head. Gear-like circles and violet spots float in the upper pictorial space like signals, interface icons, or distant machine processes. The image sustains a tension between idyll and system: a picnic scene overlaid by technology, control, and estrangement.

Materiality & Process

The work is created as a hybrid collage: individual elements are first painted by hand (watercolour/paper fields, objects, textures) and then assembled photographically/digitally into a scene. The differing material qualities remain visible – paper edges, traces of paint, and changing grain create a deliberately “assembled” sense of space. Digitally, the layers are precisely positioned and matched in contrast and light values without smoothing over the ruptures: foreground (dark grid with green placements) and background (yellow expanse) remain readable as separate zones. Effects and overlays (slight transparencies, soft gradients, graphic insertions in the sky) reinforce the impression of a world that is simultaneously landscape and interface. Steamworld therefore functions like an experimental arrangement: everyday life as prop, technology as figure, space as system.

Context note

The work appeared in *Zwischen den Büchern* (new edition, 2023).

Short description

verschaukelt shows a figure in a state of inversion: upside down at the centre of the image, held by a rigid, portal-like frame, as though the space itself were an apparatus. A glaring light bursts from the head area, overpowering individuality and turning the figure into the carrier of a function – temptation, instruction, ritual. White flowers gather around the upper crossbeam like a wreath or seal; they appear delicate, but also like decoration that fixes something in place. The body remains suspended between plant and anatomy, while a violet field condenses around the waist like armour or a zone of shame. Uprightness ends in its own inversion: an image that makes control visible as staging.

Materiality & Process

The work is created as a hybrid collage: individual pictorial elements are first painted by hand on coloured paper and then photographed and digitally positioned within the composition. This leaves a double material trace in the image: painted surfaces with their own grain and edges encounter a constructed, strictly organised pictorial space. The dark geometric frame establishes an inside and outside and makes the figure appear suspended within it; the golden ground resembles patina or an icon field and lends the setting an artificial solemnity. Light rays, glow, areas of density, and contrasts are then visibly worked into the scene. They force the eye toward the centre and intensify the logic of seduction through brilliance and fixation through framing. The idea of verschaukelt is embedded both in the motif and in the use of montage and effects; together, they construct the system of the image.

Context note

The work appeared in *Zwischen den Büchern* (new edition, 2023).

Short description

facial presents a face as a fracture point: warm and humanly modelled on the left, in greyscale on the right like an exposed system – skull, mask, machine. A single eye remains alive and direct while the right side is replaced by a display; strands of cable run across the bridge of the nose like a provisional repair. The mouth shifts between expression and defect: teeth become mechanics, colour becomes abrasion, speech becomes interference. A black, scratchy vortex forms the background and frames the portrait like an explosion moving from inside outward. Identity breaks down into an assembled condition: half body, half interface.

Materiality & Process

The work begins analogously: coloured pencil and oil pastel set different registers against one another – coloured pencil for line, contour, and drawing; oil pastel for layer, pressure, and smeared transitions. The left half of the face uses warm tones and softer gradients, while the right works with grey, duller fields and sharp-edged “breaks” that resemble cracks or fraying. Digital editing intensifies these contrasts: contrast, overlays, and texture enhancement push the division forward, while technical elements (numeric display, cables/circuit paths) become readable as interventions in the physiognomy. Crucially, the digital process determines the moment in which the face finally becomes construction. The montage remains visible and draws its tension from that fact.

Short description

slowlife holds an interior as a zone of rest: a table before a large window, outside it green overexposed foliage that feels like time rubbed soft. Small objects lie on the tabletop in quiet order – vessel, cup, a bowl containing warm forms – while an unusual shield-like creature sits above them, half animal, half object, as though something foreign had inscribed itself into domesticity. The window functions like a light machine: it floods the room, withdraws contours, and shifts the still life between everyday life and dream. The work reads like an exercise in slowness that simultaneously reveals how fragile that slowness is.

Materiality & Process

Watercolour establishes the basic atmosphere: translucent greens and yellows construct the exterior as a shimmering field, while warm browns and ochres anchor the table and architecture. Coloured pencil intervenes selectively to sharpen edges, patterns, and small emphases – especially on the central figure and objects in the foreground. Perspective remains deliberately simple and frontal: table as stage, window as overhead light, objects as markers. The contrast between soft washes (background) and drier, more graphic placements (details/patterns) produces a tension between dissolution and support. The still life’s calm carries a balance of light, attention, and slight unease.

Short description

Das Ende einer Ära stages a transfer of power as a collage body: on the left stands an Egyptian-looking figure holding an ankh – symbol of order, duration, ritual. On the right, a hybrid being made of plant and object fragments dominates: furry mass like pelt or seed wool, cactus-like limbs as supports, and above them spiky spherical flowers like a crown of defence. In the background, a black triangle opens like a portal or wedge, dividing the scene into “before/after”; everything resembles a stage for a transition that is not gentle. The narrative runs through conflicts of material: cultural sign against organic proliferation, hierarchy against mutation. “Era” becomes a question of form – who defines the body of the future?

Materiality & Process

The work is constructed through a hybrid method. Plant motifs come from the artist’s own photographs and are montaged as building components: textures of cactus, succulent bodies, and spherical flower heads are scaled, cut, and assembled into a being whose anatomy is made from botany. Analogue elements are added: white chalk on card provides drawn traces that are scanned and digitally “pulled out” so that only hatching/trace remains as a layer. Background fields are likewise based on painted card (black/light), scanned and used as texture; the black triangle acts both as a clearly placed carrier for the extracted hatching and as a spatial signal. Digitally, all layers are matched in contrast, edges, and colour space without concealing their seams. The visible montage is part of the content – the end of an era appears as an assembly of remnants and symbols; no smooth new order emerges from it.

References

Medium/Tools: white chalk; scanner; computer; black & light painted card (scanned as background/texture, triangular form) Image sources: plant photographs (taken by the artist) Plants/Index: Echinops sphaerocephalus · Mammillaria crinita / M. pringlei · Echinocereus roemeri · Sempervivum · Euphorbia obesa · Euphorbia erythraea Technique: digital montage/compositing, extracted chalk hatching as layer, texture built from scanned card, scaling/cut-out of plant fragments

Short description

Showbiz on Animal Farm organises an animal theatre as a layered system. At the centre stands a flamingo-like being, large and frontally present. Its outstretched wings detach themselves from natural anatomy and become a stage within the image. In front of it, and at the same time embedded within it, appears a lion-like form as a transparent, responsive protective surface – a permeable shield reacting to what is happening. In the flamingo’s chest zone, or within this protective field, sits an emblem with a pig’s head: a sign somewhere between lucky symbol, badge, and mark of ownership. A warped perspective of tracks draws the space backward and forces the scene into directed movement – as though everything were being pushed forward regardless of its own will. Visible divisions and layer lines expose the principle: show appears as montage made from roles, masks, overlays, and spatially directed staging.

Materiality & Process

The image components are first made by hand on paper and card. Watercolour creates the softer, transparent body zones, especially the lion-like protective form; oil pastel and metallic pens establish denser areas, zones of shine, and sharper accents in the wings, head, and emblem. Several painted fragments – flamingo figure, lion form, emblem – are then scanned, digitally combined, and coordinated through transparency, edge treatment, and contrast. The background is digitally constructed as a distorted track or conveyor-belt perspective; linear paths draw the space backward and interlock with the upper image field to produce a forced stage perspective. At the same time, the boundaries between individual layers remain visible. These retained section lines belong to the work and expose its construction. With the large logo removed, the staging concentrates more strongly on the internal structure of the image: stage, emblem, protective form, and movement space now carry the logic entirely by themselves.

References

Medium/Tools: watercolour; oil pastel; metallic pens; paper/card; scanner; computer; digital image editing/compositing Technique: analogue painting on paper and card; scan; digital montage; transparency control; contrast and edge editing; construction of a perspectivally distorted background space Digital interventions: layer montage; transparency control; contrast/edge treatment; background as warped track/conveyor belt; retained layer and section lines

Short description

Pioneer presents navigation as a weightless interior: an extraterrestrial being sits as though inside a cockpit capsule that resembles a membrane with technological remnants. A semi-transparent ship reinforced by matter hangs around the figure. The shell condenses everything it encloses. The surrounding space resembles a green fog of currents and particles. It is not empty; it feels like a viscous medium through which one has to cut. The control surfaces are reduced and sharp – like leaves with hard edges – and contrast with the cloudy mass of the shell. The result is an image of pioneering without pathos: moving forward means passing through density, not through freedom.

Materiality & Process

The work is created digitally from drawing and model/form work (drawing tablet/Nomad) and then condensed through image editing. The figure and control forms are placed as clear, flat bodies, while the ship’s shell is built through transparencies, texture overlays, and soft edges as a “matter-reinforced” zone. The background is generated through smoke/fluid-like structures and veins of light that suggest depth without providing a fixed horizon. Colour reduction (cool green, pastel accents) keeps the scene in a technological dream state. Layering produces a system of shell, medium, and control impulse that carries the idea of time/space.

References

Medium/Tools: drawing tablet; Nomad; computer/image editing Motif/Index: extraterrestrial pilot; spaceship as semi-transparent, matter-reinforced shell; control surfaces Technique: digital drawing/form language, layering, transparencies, texture/fog effects, soft edge treatment, colour reduction (green space + pastel accents)

Short description

Mother of the Devil presents a figure as a body of signs: a dark-blue, almost smooth figure stands frontally in the pictorial space, its eyes glowing pink like small signal lights. Two short horns introduce a minimal break in the otherwise “human” silhouette – more antennae than demonic cliché. Behind the body hangs a cloudy, smoky mass like fur, aura, or atmospheric cloak, simultaneously protecting and isolating the figure. Circular seals lie across chest and abdomen like embedded circuits: symbols that mark belonging while also suggesting control and programming. The image shifts toward the logic of an interface: a person whose power is translated through signs, light, and surface.

Materiality & Process

The figure is digitally modelled/established in the Nomad app and then further composed using a drawing tablet and image editing. The skin surface remains deliberately smooth and dark so that the luminous accents (eyes, horns, seals) emerge as active signals. The cloudy background/cloak form is created through soft texture and fog layers that suggest volume without defining a specific material. In post-production, contrast, glow, and edges are controlled so that the body appears cut out of a black space and the symbols remain readable as “embedded” layers. The construction stays visible. The artificial physiognomy carries the narrative through sign, light, and surface.

References

Medium/Tools: Nomad app; drawing tablet; computer/image editing Motif/Index: female figure; horns (signal/rupture); glowing eyes; seal/emblem circles on chest/abdomen; cloudy aura/cloak Technique: digital model/render, layering/compositing, glow/contrast control, fog/texture overlays, colour reduction (dark blue + neon accents)

Short description

Squirrel shows a squirrel as a disturbance of dimensions: it flies through my room – through a place that is supposed to be stable and ordinary. Its head recalls a space station or a smooth interface, shifting the creature between animal and vehicle. A smooth red field enters the composition as a marker of wingspan. It measures the flight geometrically, like a body in space. The background is meadow/lawn and acts as a symbol of the “playground” of my workspace – the place where experiments are permitted and rules become negotiable. The image thus connects two levels: 2D signs (surface, path, marker) and three-dimensional space (body, room, passage through it).

Materiality & Process

The work is created on a drawing tablet and further processed on the computer. The squirrel’s form is deliberately constructed as a hybrid: organic appearance meets smooth technological surfaces, especially in the head-like “station body”. The red field functions as a steering vector and as “evidence” of movement/wingspan – a visual measurement rather than an illustration. The lawn background serves as the symbolic working playground and turns the interior into an experimental field. Through layering, edge treatment, and colour accents, the image is built to oscillate between sign and space – precisely where its idea of dimensions is located.

References

Medium/Tools: drawing tablet; computer; digital image editing Motif/Index: squirrel from another dimension; head as a space-station/spacecraft-like form; red wingspan/flight-path field Background/Index: meadow/lawn as symbol of the “playground” of the workspace Technique: digital drawing, geometric movement marker (red), layering/compositing, contrast between 2D surface and 3D volume

Short description

Before Phoenix shows a moment shortly before form takes shape: a large angular vessel or capsule dominates the surface, lined inside with dark, leaf-like fragments like a zone of burnt material. Pink, fleshy-fluffy forms break out of the opening – as though organic parts were only just assembling, falling, and reappearing. The pictorial space is bright and nervous: fine fracture lines, circular traces, and electrical veins in the background make the scene feel like a charged preliminary field. “Before” refers here to a condition shortly before form. Before the phoenix lies a montage of remnants, energy, and unfinished corporeality.

Materiality & Process

The work is created digitally in a combined workflow: basic bodies/volumes are established in Nomad, shaped further on a drawing tablet, and assembled in layers through image editing. The capsule structure is built through clear edges, colour bands, and perspectival deformation; the dark inner fragments resemble inserted textures/layers suggesting materiality (foliage, soot, stratum). The pink forms are treated as organic inserts: cut out, scaled, and partly overexposed so that they shift between body and particle. In the background, transparent circles and fine crack/vein structures generate an electrical atmosphere that makes the “before” legible as stored tension. Visible transitions and overlays remain part of the statement: the image shows emergence as compositing.

References

Medium/Tools: Nomad app; drawing tablet; computer/image editing Motif/Index: capsule/vessel; dark leaf/soot fragments inside; pink organic inserts; background with crack/vein structure and circular overlays Technique: digital modelling + drawing, layering/compositing, texture and transparency control, perspectival deformation, contrast/glow accents

Short description

Spaceskull turns the skull into a space capsule: a transparent bone line floats within a dense pink sphere, as though the head were enclosed in a field that protects and isolates at the same time. Massive, technologically appearing bodies – white/grey like modules or supports – run through the mouth cavity, accompanied by red and blue points that function like coordinates, markers, or energy cores. Where emptiness would normally be expected, structure is present: orbit instead of cavity. The image therefore shifts between anatomy and navigation – death as shell, thought as system space, skull as interface.

Materiality & Process

The work is created digitally in a hybrid workflow: basic forms and volumes are built/modelled in Nomad, then further drawn on a tablet and assembled through image editing. Transparency is central: the skull is rendered as a fine, translucent contour, while the internal modules gain weight through shine, shadow, and hard edges. The pink sphere is produced through overlaid circles and fields that suggest depth and capsule the image space like a protective field. In post-production, contrast, colour accents (red/blue), and slight texture/noise traces are placed so that a cosmic interior view emerges: layering instead of perspective, markers instead of narrative.

References

Medium/Tools: Nomad app; drawing tablet; computer/image editing Motif/Index: skull contour (transparent); pink sphere/capsule; internal modules/supports (white/grey); markers/orbs (red/blue) Technique: digital modelling + drawing, layering/compositing, transparency control, shine/edge treatment, colour markers as coordinates/energy points

Short description

The cover of Wellenritt der Kunst draws on the motif of the work Surfin and transfers its visual logic into the form of a book cover. The surfing figure with a flower head, the dark water surface, the plant-based wave, and the glaring impulse of light condense on the front into a surface between movement, stimulation, and artificial intensification. Front, spine, and back are formally separated but remain connected through the dark ground and the coloured spine field. The back takes up the visual density of the front but transforms it into a calmer text area. The cover therefore becomes a pictorial state in its own right, positioned between friction, circulation, and artistic assertion.

Materiality & Process

The design is based on a digital transfer and further processing of the motif Surfin, adapted to the cover format and newly framed through typography. Hard cut-outs, strong contrasts, glow and shine effects, and the visible collision of different image layers shape the front. The wave appears as a vegetal topography, while the back translates the blurb into a quieter reading field. The decisive element is the tension between expressive image effect and clear book structure.

References

Title: Wellenritt der Kunst Author: Jeremias Erdogan Front-image reference: Surfin (2017.07) Context note: By using Surfin, a work also included in the book itself, the cover directly connects outer form and content.

Short description

The Call shows communication as a process inside the head – literally: the “island” is suggested as a profile of a head, a space of thought lying in the image like a landmass. Objects stand on this head like provisional infrastructure: a black telephone/receiver cluster, cylindrical modules, and two light-coloured stacked structures resembling receiving stations. The head becomes a platform on which a signal can exist at all. The background is a cold blue network dividing the space into coordinates; the head-island profile lies within it like an exception, an organic field inside a grid. “Call” is an attempt at contact: thought as switching point between interior space (head) and system space (network).

Materiality & Process

The work begins analogously on paper/card: watercolour establishes the soft basic surfaces of the head profile, oil pastel builds density and direction in the greenish zones, and metallic pens set isolated traces of shine and accent in the circling structures (like small movements of thought/signal rings). Individual objects (telephone/modules/structures) are drawn or painted separately and later digitally combined. In the digital composition, the network is constructed or “raised” as an independent pictorial space: grid lines and an oval frame define a technological environment into which the head profile is inserted. Edges and transitions remain deliberately legible and openly display the montage: head as island/carrier, network as system, objects as interfaces.

References

Medium/Tools: watercolour, oil pastel, metallic pens; paper/card; scanner/computer; digital image editing/compositing Digital interventions: raised network/grid overlay, oval frame insertion, layer montage, contrast/edge treatment Motif/Index: head profile as island; telephone/receiver object; modular “towers”/frames; circling trace fields as movements of thought/signal Thematic axes: call/signal infrastructure; interior space (head) / system space (network); organic form / grid

Short description

Princess Pearl shows a figure that has almost completely become a shell: a deep-blue, fabric-like folded body sits at the centre like a flower made of cloak, dress, or wings. The head is only suggested as a pale pearl – a smooth, anonymous surface that reduces identity while at the same time ennobling it. A triangular frame lies around the figure like a reliquary or stage; outside it is a ring of oval modules recalling scales, rows of pearls, or a technical grid. An image emerges between fairy tale and interface: “princess” becomes a condition of protection, ornament, and system.

Materiality & Process

The work is created digitally in a combined workflow. In Nomad, the basic form and volume of the central figure are established as a softly folded mass; details, edges, and transitions are continued on a drawing tablet before image editing closes the composition. The pearl is set as a smooth counterpoint to the fabric-like folding (shine/shading as material signal). Frame and outer ring are produced through repeated modules and patterned fields: a triangular “inner field” with a fine grid and a circular wreath of oval elements that creates depth through repetition. Transparencies, lighting, and contrast concentration hold the figure in the centre. Ornament and supporting structure thereby take on the function of an architecture of presence.

References

Medium/Tools: Nomad app; drawing tablet; computer/image editing Motif/Index: central blue folded figure (dress/flower/wings); “pearl” head; triangular frame (reliquary/stage); outer ring of oval modules (pearls/scales/grid) Technique: digital modelling + drawing, pattern/module repetition, layering/compositing, shine/shadow treatment, contrast concentration

Short description

holdON transfers the earlier digital constellation into a more open, painterly condensed scene of relationship. Once again, two bodies face one another; once again their approach is shaped by distance and uncertainty, but the pictorial order is now reduced and more bodily defined. A fragile connecting line and an ambiguous dark form organise the image as a threshold space between isolation and contact. The centre remains ambivalent: it can be read as a projection surface for expectation, threat, or fear and at the same time keeps the figures apart while holding them in relation. Freedom lies here in negotiation – between protection and exposure, inside and outside, approach and possible loss.

Materiality & Process

The work is executed in acrylic on canvas and develops its tension through painterly placement, spatial arrangement, and deliberate reduction. The planetary forms have left digital montage behind and are now articulated as painted bodies within the image. They hold the figures at the edge zones and structure the space between them. The fragile connecting line remains a precarious orientation within an unstable field. The dark dots are placed in acrylic with a toothpick; they create a tactile, slightly vulnerable trace that condenses the central form without defining it unambiguously. This is precisely where the difference from the 2017 version lies: where digital artefacts, noise, and edges previously made coupling visible as interference, the same problem is now slowed down and condensed through painterly means. The threshold is built spatially and materially; the earlier glitch-like interruption remains present as memory.

References

Medium/Tools: canvas; acrylic; toothpick Technique: analogue painting; spatial placement of colour fields and figures; dot structure in acrylic Development curve: Between 2017 and 2024, holdON shifts from a digitally constructed, visibly disturbed coupling toward a painterly concentrated threshold structure. The early version develops relationship through montage, noise, reflection, and artefact – connection appears as a precarious leap through a technically and visually charged intermediate space. The later canvas work retains this basic structure but reduces it to a few spatially effective elements: sphere, figure, line, dark centre. The pictorial idea becomes calmer, but not simpler. The disturbance does not disappear; it moves from digital rupture into the material and psychological contradiction of painterly space. In doing so, holdON from the new edition of *Zwischen den Büchern* (2023) is reflected in relation to the piece “Das Treffen der Welten”.

Short description

Der andere Rabe presents a body as a hybrid of animal, gesture, and tool: a raven-headed figure kneels in concentrated posture, as though absorbed in ritual or work. Between its fingers it holds a feather. In the hand, the feather acts simultaneously as tool and touchstone. At the exact centre of the feather, the organic shifts into the technological: the feather becomes mechanised into a key/lock principle, and the lock mechanism is visible frontally like an opened mechanism at the core of the material. Writing/drawing thereby becomes something that both locks and opens: feather as access, but also as control. The feather’s colours migrate into the surroundings: pink/orange/blue mix, and the body bleeds chromatically into its environment. Identity appears as a transition whose boundary dissolves.

Materiality & Process

The work is created in a hybrid digital workflow. The figure (raven-headed posture, hands/fingers, bodily volume) is established in Nomad and further developed on a drawing tablet. The feather is based on real material: a scanned/photographed feather is integrated into the composition as texture and formal reference and recoded chromatically. In image editing, feather, body, and background are brought together through layering, transparency, and edge treatment; the mechanical zone at the feather’s centre is created as a deliberate montage: organic structure / technical lock mechanism (frontal view). Colour mixing and overlays ensure that the feather’s own colour merges with the surrounding space rather than sitting on it as a foreign body. The feather therefore becomes both material sample and system key.

References

Medium/Tools: Nomad app; drawing tablet; computer/image editing Image sources/Material: real feather (scanned/photographed, used as texture/form basis) Motif/Index: raven-headed kneeling figure; feather between the fingers; mechanised feather zone (key/lock principle); frontal lock mechanism Technique: 3D/model + digital drawing, integration of scan texture, layering/compositing, colour overlay/matching, edge/transparency control

Short description

Abwurf shows a figure in the moment after a decision: a red, heavy-looking mass, folded like metal foil or organic tissue, lies in space as though it had just been “set down” or released. An arm rises out of the form – a waving, shedding gesture that can be read as both farewell and relief. Angular green-blue structures flash inside it: a technological core, visible yet trapped. Above it rises a smoky trace, while a pale yellowish form reaches into the scene like a flag or torn-off sign. The image holds the ambiguity: Abwurf as liberation, but also as loss of control; a body separating from something and leaving traces behind.

Materiality & Process

The work is created digitally in a combined workflow: basic volumes are modelled in Nomad, further shaped/accented on a drawing tablet, and composed as a layered system through image editing. The red outer form is rendered as a forceful shell through shine, hard edges, and faceted transitions; the arm posture is modelled as a clear directional placement so that the “waving” movement remains legible. The inner core receives an angular geometric language (green/blue) and acts like an encased construction or foreign body. Smoke/particle zones are used as transparent overlays to mark aftermath and direction. Colour and contrast (red = weight/body, green-blue = system core, yellow = signal) organise the scene: gesture above, mass below, trace between them.

References

Medium/Tools: Nomad app; drawing tablet; computer/image editing Motif/Index: red figure/shell; arm raised upward (waving/shedding gesture); geometric core (green/blue); smoke/trace zone; yellowish signal form Technique: digital modelling + drawing, layering/compositing, shine/edge treatment, transparency/smoke overlays, colour contrast as structural principle

Short description

Apollo-Alien examines the interface between everyday life and cosmic projection: a figure stands between “window” and spatial depth; the pictorial surface itself becomes a threshold. The window (inspired by an oven window) shifts from domestic functionality into a threshold at which perception slips into another order. Contrasts of colour and form keep this duality in tension: dark centre and luminous body, absorption and energy.

Materiality & Process

Acrylic painting and plaster relief turn the canvas into an interface between flatness and volume. The plaster builds the background as a physical layering: it is modelled, sanded, and partly overpainted so that relief and colour field interlock. In the upper third of the image, a deliberate gap/fracture zone remains between the plaster body and the canvas: it breaks the illusion of a closed pictorial space and makes the seam of the construction perceptible.

Short description

A landscape-format painting shows the portrait of a female-presenting figure against a dark, star-filled outer-space background. The figure is shown frontally and looks upward with wide-open, light-blue eyes. Her face is modelled in pale greenish-yellow tones, with red lips, dark areas of shadow, and violet hair. She wears a black, wide-brimmed hat. Coloured, flame- or ribbon-like forms in blue, cream, violet, and pink grow or stream upward from the hat.

The background is black and covered with numerous white dots and small star shapes. Several round, planet-like spheres in blue and white float through the space. Curving trajectories and cloud-like fields of colour in blue, violet, green, and pink run through the image and heighten the impression of a cosmic event. At the lower right is a small orange square containing a green monogram.

The overall impression is expressive, dreamlike, and theatrical. The image combines portraiture, fantasy figure, and cosmic scenery.

Materiality

Oil pastel, coloured pencils, and oil paint on watercolour paper

Process

Drawing and painting on watercolour paper

Short description

This new version of Zombie transfers the early graphic constellation into a physically tangible horror assemblage. The central figure emerges from the surface; skull, teeth, and bone acquire volume and become a vulnerable yet grotesque material body. The bone is once again positioned between the strongly modelled teeth. The mouth appears almost to grasp or hold it in place. The hands that were still clearly recognisable in the early version, however, undergo a fundamental transformation.

They become numerous small segments made from modelling clay. Their form deliberately remains ambiguous: they can be read as abbreviated hand or finger bones, but also as maggots. In this way, the social act of grasping in the first version is transformed into a bodily and biological movement. Hands, bones, and maggots formally merge into one another. The motif of grasping simultaneously becomes a motif of feeding, holding on, and dismembering.

This movement does not remain within the actual picture surface. The frame is permanently attached to the work and itself becomes part of the assemblage. Individual maggot-like forms extend onto the frame, appearing to eat their way into it or grow out of it. The boundary between image, body, and surroundings thus becomes unstable: the depicted decay can no longer be fully contained by the object.

The term “Fleischesliebe” (“flesh love”) is intensified physically in this version. From the perspective of the maggots, there is an immediate relationship to the last flesh on the bone. From the perspective of the skull, the bone appears as something held between the teeth and not released. For the outside viewer, by contrast, the result is primarily a horror motif. Love, closeness, and connection are therefore not presented as harmonious states, but as contradictory forms of dependence, holding on, consuming, and passing away.

The work draws on the same personal points of reference as the earlier version: accompanying people who were dying in my work as a nursing care assistant, experiences of affection and isolation, and the encounter with the human bones arranged densely side by side in the Catacombes de Paris. In my own deliberately absurd reading, this gave rise to the idea of a community extending beyond death – a form of closeness that can appear just as unsettling from the outside as the “Fleischesliebe” within the image.

Materiality & Process

Modelling clay, synthetic resin, and pins carry the statement directly through their haptic qualities. Modelling clay allows immediate shaping, deformation, and a direct, almost raw gesture; synthetic resin fixes this process-like softness and preserves the moment of deformation; pins create accents of penetration, fixation, and pressure. The small segments formed from modelling clay take over the function of the earlier hands, while at the same time remaining readable as maggots or as hand and finger bones. The frame, permanently connected to the image, is incorporated into the work; individual forms appear to eat their way into it or grow out of it.

In contrast to the 2022 version, in which repetition, contrast, and blockage were primarily organised graphically, the visual logic is transferred here into a relief structure: grasping acquires volume, the figure resistance, the surface a wound. The work thus marks an intensification of the earlier configuration – from optical condensation to physical presence.

References

Medium/Tools: canvas; modelling clay; synthetic resin; pins; frame permanently connected to the image Technique: relief construction on canvas; sculptural modelling; fixation and material condensation; incorporation of the frame into the assemblage Work relation/development: continuation and materialisation of the 2022.01 “Zombie”; the pressure situation established there graphically is developed into a haptic conflict structure Visual logic: hands become ambiguous segments between maggots and hand/finger bones; bone between grotesquely grasping teeth; extension beyond the picture surface and into the frame Content reference: accompanying people who were dying; love, affection, and isolation; dementia; personal perception of the Catacombes de Paris; “Fleischesliebe” from the perspectives of maggots, skull, and outside viewer Development curve: Between 2022 and 2024, Zombie shifts from a graphically and digitally condensed situation of pressure to a material, bodily form of conflict. The early work develops face, hands, and blocked mouth area through surface, contrast, and repetition. The relief version retains this structure but translates it into volume, surface, decay, and physical resistance.

Image description

An abstract portrait-format digital image in predominantly cool blue and violet tones. The upper part of the image is dominated by a large, curved dark form that resembles an arched body, a wave, or a floating object. Along its lower edge runs a broad band of red, pink, and violet that blends softly into the surrounding layers of colour.

The background is traversed by cloudy, speckled, and flowing structures. In the lower area, the forms condense into an unsettled, splashing texture of light and dark blue, reminiscent of water, spray, or a turbulent surface. In the centre of the image, two arch-like, semicircular forms can be made out beneath the transparent colour layers. At the lower right is a small orange square with a green monogram.

The overall impression is floating, atmospheric, and in motion. The image resembles a mixture of landscape, wave, sky-space, and abstract colour study.

Digital painting

Process: app and PC, digital image editing

Short description

A portrait-format digital image shows the side profile of a human head against a star-filled outer-space background. The head is rendered in dark grey and black tones and turned to the right. The facial features remain subdued; eye, nose, mouth, and ear emerge softly from the dark form. A fine star-like structure lies across the entire figure so that head and cosmos visually merge into one another.

Behind the head, a luminous nebula spreads in pink, violet, blue, and orange. A spiral-like galaxy is visible in the upper-right area. Numerous bright stars are distributed across the entire image. At the lower right is a small orange square with a green monogram. The overall impression is calm, detached, and cosmic. The image combines human figure, darkness, and star space into a floating, almost dissolved appearance.

Digital painting

Process: app and PC, digital image editing

Short description

The handout presents Clash of Arts as an image of mediation between exhibition scene and conceptual sketch. At the centre is a museum space with viewing figures, framed works, and a calm situation focused on perception. Below, the representation shifts into a more schematic level: a circular icon containing clipboard, pencil, and gear translates seeing into procedure, evaluation, and curatorial structure. Three text modules name the project’s conceptual axes – exhibition format, audience interaction, and curatorial process. The footer with project and contact information consolidates the sheet as a factual information surface.

Materiality & Process

The design works with a reduced palette of beige, violet, and blue, deliberately keeping the page calm. The upper pictorial space remains illustrative and spatial, while the lower section condenses the same logic into a sign-based functional graphic. Dashed lines frame the page and stabilise the vertical sequence of title, scene, functional block, and footer. The decisive element is the change of registers: observation, participation, and organisational framing interlock and form the levels of a participatory exhibition concept.

References

Project: Clash of Arts – participatory exhibition concept on the perception of art Concept development: 2024.11 Visible text elements: “Conceptual exhibition format”, “Audience interaction & perception”, “Curatorial framework & process” Functional context: handout for communicating an interactive, anonymised exhibition and voting format

Short description

The handout presents Cosmic Culture as a modular system situated between design, planting, and communal use. The central representation of the planters makes the project’s core immediately comprehensible: individual beds, different plantings, and the repetition of similar modules point toward variability rather than a finished object. A circular diagram in the lower section reduces this spatial view to the system’s basic structure. The accompanying text modules describe the interdisciplinary, social, and ecological framework; the footer anchors the representation as a project-related information sheet.

Materiality & Process

The design uses a warm base surface and contrasting accents in violet, green, blue, and yellow. This keeps title, modules, and guiding elements clearly separated without appearing technically cold. The central object view remains illustrative, yet already shows the planter system as a functional arrangement of segments, planting zones, and paths. The development of the vessels is based on CAD-assisted construction in FreeCAD, which helps determine the modular structure and repeatability of the elements. The lower diagram adopts this logic in abstracted form and turns the planted arrangement into a readable construction principle.

References

Project: Cosmic Culture – interdisciplinary art, design, and ecology project Concept development: since approx. 2011 Project context: developed in parallel with training as a gardener specialising in perennials Visible text elements: “Interdisciplinary art & design Project”, “Community use & ecological Context”, “Modular Drained Growing System” Image basis: illustrative example graphic based on GM PlugTrays Functional context: handout for communicating a modular cultivation and use system at the intersection of design, communal practice, and ecological questions

Short description

Flewd organises movement as a collision of sign systems, but the trigger is a creature: at the centre sits a greenish-camouflaged body, a mythical hybrid of grasshopper and moth that appears to be made from *Polystichum braunii* – the camouflage is embedded so deeply in the body that it feels like origin. From this organic masking, a ball of light forms and occupies the centre like condensed matter. A mere glow effect would be too light for it. On the left stands a violet, contoured mass like a shadow body or negative imprint; on the right, a semicircular module with a green edge recalls a measurement field, threshold, or interface. Between organic core and technical frame, an unstable equilibrium emerges: flight as impulse entering a logic of control and redirection.

Materiality & Process

The composition develops from a drawing. Ideas of line and division of fields remain visible and pass directly into the digital construction. In its digital implementation, the work uses layer architecture and “embedded” zones: flat violet fields establish the basic space, while contoured areas appear engraved or like insertions from another system. The central organism is constructed through texture and transparency layers: plant-like fibrous structure (camouflage/leaf body) meets violet fields that simultaneously conceal and mark the hybrid. The ball of light is created as a deliberate condensation through radial radiation and contrast control – a core that physically asserts the centre of the image even though everything is digital. On the right, the semicircular module with axis/line overlays stabilises the technological reading (measurement/navigation), while visible edges, overlays, and remnants of signs expose the construction. Nature and technology meet at the same threshold.

Short description

Climbing Party builds a landscape that works like a machine: a Matterhorn functioning as a vertical channel through which matter, energy, and meaning circulate. From the summit, a glowing trace runs downward and couples the upper region to a large ring-shaped structure in the foreground – a tunnel-like crater that resembles an opening into the interior of the scene. Figures/fragments sit at the edges of this dynamic: on the right as a threshold guard at the entrance, on the left as a blower-like force that first sets movement and condensation in motion. At the bottom, a wave-shaped carpet pulls the composition together and keeps the narrative open between geology, technology, and cosmic projection.

Materiality & Process

The work interlinks hand trace and construction: watercolour establishes atmosphere and blur as a weather condition, while digital modelling in Blender places the tunnel as a precise, technically appearing form. In GIMP, the layers are assembled, edges shifted, textures pushed against one another – creating the impression of a hybrid topography that is “built” rather than found. Acrylic interventions enter as disturbances and markings: traces, splashes, condensations that pull the image back into the physical and break the illusion of a closed digital space. The central “core” in the tunnel (mine-tip/storage-like) gathers this logic: energy flows, is collected, recoded, and released again.