Work Archive

My work is about transformation
as much as vulnerability,
and the spirituality of
seemingly ordinary everyday moments.

This page offers a chronological overview into my artistic work since 2006, when I started my studies at the Academy of Fine Arts Vienna.

My oldest work shows people in vertigo: tumbling, falling, entering a life. Since then, the pieces visualize fragments of what it means to inhabit a body – showing blissful, chaotic, lonely, connected, and all other sorts of moments. Although the work’s visual modes keep changing, its emotional base remains highly connected throughout the years. It uses geometry and nature, blends analog and digital metaphors and processes, and repeatedly uses DNA structures to reference the basis of life: Mine is a work about transformation as much as vulnerability, and the spirituality of seemingly ordinary everyday moments.

"In large measure becoming an artist consists of learning to accept yourself,
which makes your work personal […]."

“Art & Fear: Observations on the Perils (and Rewards) of Artmaking”, 1993
David Bayles & Ted Orland


2024: Consciousness Dialogues

I wanted to create works that could be felt to exist beyond any specific time or space. I started discussing spiritual literature with ChatGPT, an artificial “intelligence”. While initially exciting, these conversation started leaving a stale aftertaste. The title of this series refers to the conversation between my consciousness and ChatGPT, but can also be understood to refer to the artistic process as a dialog between an artist’s consciousness and their physical materials.

Click here to view the entire series.

2021-2024: Time is Personal

The “Time is Personal” series reflects individual vulnerabilities of people in my immediate surroundings. By recreating photos (most taken by me) with pencils on paper (and later oil on canvas), I let a reality come to life that is forever gone – and let myself feel time beyond time.

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2022: Cradle Drawings

Pursuing different tools and visual strategies than in my usual visual work, I made these drawings to accompany the Cradle music album, which got released in 2024.

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2020-2023: Glitch/Trauma

In 2020 I started a work series that reproduced digital glitch aesthetics in oil (on canvas) and pencil (on paper).  After years of compositions featuring many individuals, I wanted to turn my focus onto one individual at a time, a practice deeply rooted in my passion for portraiture.

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2017-2024: Gradations of Trauma

I started experimenting wih handmade pixelations in 2017, and kept the practice as part of my work process: to take a photo, sample its colors, and create visual abstractions with focus and dedication. During the lockdown, I continued processing personal and societal events and atmospheres, and started a series about the Black Lives Matter protests.

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2020: Lockdown Portraits

During the 2020 lockdown I created a series of oil-on-paper paintings. Paper sucks up the oil extremely quickly, resulting in an unusual workflow for oil painters: you work more in layers than in color blending. 

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2019: Waiting

In 2019 I started making photos and videos of anonymized people on public transport. This ultimately turned into a deeper curiosity, and maybe inquiry, on the topic of waiting. Any object or place can become one of longing, so I let this series become a space for a personal reflections on this.

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2019: Short Films

In 2019 I expanded my image abstraction software (“Geometries Everywhere”) to be able to process video data. As a result, I created various short films.

2018: Kindness of Strangers

I produced these works after I finished my second series of psychotherapy sessions. The pieces have the wide-ranging, meandering ambiguities known from my previous work — which are also uniquely known to those trying to interpret dreams, Freudian slips or other co-conscious actions.

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2017: Political Paintings

I started feeling limited and frustrated by mostly focusing on my emotional and sociological background as bases of my works — although my everyday reality is so strongly based on reflecting the various conditions of the world. As a result, I created a series of works depicting heavy political and societal events.

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2016: Hopes and Expectations

This series consisted of works showing people in union, yet apart. Theatrical scenes populated with interpersonal agendas, focusing on a loose triple dynamic of identities, places and actions – with uncertainty being their potentially distinctive, uniting feature.

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2014-2015: Large-scale Abundance

In 2014-2015 I created a lot of large-scale paintings that blended the ideas of abundance with those of minimalism — resulting in brimming, fuller pieces. I experimented with the idea and point-of-view of the theater stage: to offer a clear, direct angle into whatever ambiguity the paintings contain.

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2013: Narrative Abundance

In 2012/213, after producing visually monolithic works, I started focusing on paintings containing an abundance of visual/compositional elements, to create various strands of meaning that would ultimately non-compete for attention.

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2013: Prism

I created these works during a residency in Seattle (organized by my dear friend Siolo Thompson). The focus was on mass surveillance, as described in the then-recent whistleblowing efforts of Edward Snowden.

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2013: Etchings

In 2013 the friendship with Patrick Wagner of Black Heart Press led to a two week effort in collaborative printmaking. This project was initiated by Patrick, and resulted in a series that mirrored and expanded on various formal ideas that I first established in my paintings.

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2011-2014: Narrative Minimalism

In 2011 I started experimenting with large-scale paintings that would mostly focus on one monolithic visuality. The idea was to use various inherent aspecgts of painting to create platforms of meaning and potential – binding atmospheres. Narrative minimalism.

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2010: Time-based Works

In 2010 I produced a series of drawings and paintings that focussed on creating static images out of time-based activities. The idea was to take an aspect of film (dynamic content), and recreate part of its potential in a different medium (painting and drawing).

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2009-2010: Narrative Paintings

I solidified my initial stylistic choices in regards to narrative painting and drawing in 2009-2010, when still studying at the Academy of Fine Arts Vienna. How to narrate a person or situation visually? How do symbols, geometries and figuration interact?

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2008: Narrative Paintings

I can trace a direct line of formal and emotional continuity between Dissection: Hope (2008), to the newest works that I create today. This includes the evolution of visual composition, color choice, use of geometry, the specific feeling of the depicted people’s gaze, etc.

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2007: Tree of Knowledge

This work series consists of nine ink drawings, that together form a stylization of a tree (the upside-down pyramid). Each image depicts a ginseng root, and most of them also feature a specific face of a person that my life revolves around.

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2006: Vertigo

2006 was the year that got me accepted into studying Fine Arts at the Academy of Fine Arts Vienna. I had been drawing for two years, and now experimented a lot with figuration and movement — sometimes bringing the two together.

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