What inspired you to become an artist, and when did you start taking art seriously?

There wasn't a specific moment. Even as a child, I was fortunate enough to have great artistic teachers around me, so I became passionate about artistic questions from an early age.

My portfolio preparation for applying to study art at the Wimbledon School of Art in London at the age of 19 was the starting point for my artistic career.

Which artists or art movements have most influenced your style and work?

Anselm Kiefer. His art is profound, complex, and spiritual. His use of unconventional materials and the way he deploys them are absolutely unsurpassed! For me, he is the most impressive artist—nothing has changed for me in over 30 years.

Alberto Giacometti – the honesty of his art and the archaic drama of his figures.

My teachers Sonia Boyce and Clem Crosby from Central St. Martins (London), who have had a strong influence on my artistic development.

Is there a particular theme or message you want to convey in your work?

My artistic practice is concerned with exploring what exists beyond the visible surface and order, what can only be experienced as a hunch: the world of the invisible.

The multi-layered image composition with collage-like arranged motifs results in a complex visual language.

The interwoven techniques of painting, drawing, watercolor, and photography, as well as integrated found objects that carry a silent presence of the past, create a complex and multi-layered pictorial space.

The nearly transparent gauze adds another layer to the works, creating a depth that defies any clear interpretation. It appears permeable yet simultaneously obscures what lies beyond. Depending on the viewer's perspective, different perspectives and narratives open up, confronting the questions: what do we really see, what exists hidden? The gaze is directed, yet simultaneously disturbed and slowed down; viewing becomes an act of searching.

What has been the biggest challenge on your artistic path so far, and how did you deal with it?

dealt with?

The biggest challenge for me was to realize my idea of a multidimensional pictorial space using the almost transparent material gauze as the final part of the picture.

Over several years, I have experimented with many different techniques in the field of transparency: from foil printing to acrylic panels, museum glass, and casting in epoxy resin.

With today's solution of laminating the gauze onto Plexiglas in a multi-stage process and presenting it behind museum glass, I was able to realize my very own artistic language.

Are there any techniques and materials that you prefer?

No. My artistic work has shown that I may need a variety of new techniques and materials to meet a new artistic challenge.

Is there a particular place where you prefer to work?

My studio

Where do you see yourself and your art in the next five years?

Cross the bridge when you get there!

Do you have a "philosophy" that guides your creative expression?

The surprise! There's always a point in the creative process when something begins to emerge in the picture that I hadn't previously thought of or planned – this is what I need to work out and make visible.

The work must always be better and more than my idea of it.

What advice would you give to other young artists who are just starting out?

That's difficult. It's best to complete two apprenticeships and have a secure foundation; then you'll have more freedom to work.