From Where I Stand 
Bürgergalerie, NMS


By engaging with painting on one hand and cartography on the other, I establish connections between scientific discovery and artistic exploration in my practice. I use references to images and imagery outside of art to relocate painting to places in the world. I explore boundaries  between cartography and painting, between schematic ground plans and mimetic representations of a scene, trying to blur these in a new organizing view.


TO mapSteel, ink, water, 100 cm, 2020

Bassin, Tempera and pencil on canvas, wood, 190 x 120 cm, 2019/20

“the river may perhaps be identified with the euphrates“Etching, artist-frame, 19 x 23,5 cm, 2020

“les montagnes aurifères sont en effet teintées en rouge“ , Etching, artist-frame, 19 x 23,5 cm, 2020 

Many attempts at painting a river  / viele versuche einen fluss zu malen 
Offsetprint, 800 postcards, 
105 x 148 cm each 

The postcard pile shows a series of printed watercolor drawings representing the movement of the river ‘Le Gardon’ in  France. The title of the work plays with a similar idea of try and error that reveals the limitations of such ventures. The poetic gesture of the work lies to us in the redundancy of  drawing a liquid substance with watercolor paint, but also in the distribution of the image, when the postcards leave the exhibition space in a transcorporeal effort. A second part of the work is called An attempt to build a dry stone wall.


Exhibition view From Where I stand, in the front An Attempt to Build a Dry Stone Wall  / Ein Versuch eine Mauer zu bauen, on the right Hunting of the Snark

An attempt to build a dry stone wall / ein versuch eine mauer zu bauen 
digital print on organic fiber, curtain rail, wood
approx. 360 x 220 cm 


An attempt to build a dry stone wall refers to the contrast between the image represented and the material on which the image appears. The weight of a stone wall is set in a thin, almost transparent material, linking to forms of representation as carriers of apparent histories. An old stone wall that gives insight into the site’s history appears also as an overgrown part of a present landscape. The technique of dry masonry does not require any addition of material besides what is found on site. The wall appears as a cartographic gesture as well as an architectural structure that enables agriculture in steep geography. By literally rebuilding on the ruins of a decayed wall, where nature-culture intersections get blurred, the work refers to the archaeological memory of the river valley as a site of co-existence, dependency, and control.


Exhibition view From where I stand

Round Earth Model, Colourpencil, watercolor and gesso on cotton, 140 x 140 cm 2020