Porcelain, copper oxide, steel
Dimensions variable

Grids made from porcelain infused with copper oxide are placed onto tiles, leaving an imprint during the firing process. Due to material tensions caused by heat, the grids shatter, while the tiles remain intact.
The series shows processes of fragmentation and decomposition and the simultaneous attempt to preserve memory through language, symbols and signs.

Porcelain, pigments, oxides, aluminum
Each part 36 × 61 × 2 cm, installation dimension is variable

Wand 1 is an ongoing series of modular porcelain wall pieces. The series studies the chemical reactions of various oxides with porcelain during the firing process, as well as graphic and colour concepts. The format is influenced by the use of samples in architecture and design, serving as a pre-stage for idea realization.

Porcelain, pigments, oxides, aluminum
Each tile 18 × 30 cm

Rectangular tiles and figures made of porcelain are assembled into wall murals and mounted in aluminium frames. Forms are first worked up in beeswax or wood before porcelain is poured repeatedly into negative plaster casts. The components can be variably combined with each other and follow digital graphic sketches. Test pieces for the reaction of various pigments and oxides form the ongoing series Wand 1.

Porcelain, aluminium
350×140×10cm

In Bar, Figur aluminum profiles shape an interior where various actors made of porcelain come together. The figures are both, individuals and objects being used.

10 porcelain cups made by the artist, 10 cups in exchange

On the occasion of the exhibition Reboot, ten hand-made porcelain cups were exchanged with ten mugs from the office of the Pfefferwerk Stadtkultur gGmbH social institution. In the exhibition space, the employees' mugs are placed on borrowed tables and chairs. The installation loosely references the history of the site, which was once a brewery and club and is now being transformed into a studio and gallery space. The arrangement of objects connects to social and bureaucratic structures, highlighting moments of togetherness in our everyday lives.

Mantelpiece made from extractor pipes, beeswax, chalk spray

Dust, dunst, gust, still things are in place. noch immer [still] is installed in a former bunker near the canal in Rotenburgsort, Hamburg. Beeswax models of flowers, frames, and urns question the symbolic nature of these objects and reflect on funeral customs – as a recyclingprocess, as well as its potentialities for memorial culture.

Beeswax, wicks, screws 
195 × 115 × 0.1–0.5 cm, 3.5–6 liters
Number of panels is variable 

Thin beeswax panels, 0.1–0.5 cm thick, are mounted on the wall with embedded wicks. For each installation, the panels are melted and poured again. Each plate is a direct reflection of external influences, showing traces of wind and weather, as well as the movement while pouring it. The process references the historical preparation of white sacral candles, which were made by pouring beeswax into thin sheets and bleaching them in the sun. Depending on the age, purity, light exposure, and pollination area, the wax assumes different shades, ranging from light to dark yellow.

Beeswax 
r 700 × h 0.3 × w 5 cm, 2.8 liters

A quarter-circle segment made from oxidized beeswax is poured on the floor within a 7-meter radius of the entrance door.

Beeswax cast, fiberglass rods, aluminum tips, hanger bolts, adjusting rings 
340 × 30 cm, ∅ 4 cm, 4.3 liters and 210 × 30 cm, ∅ 4 cm, 2,7 liters

I use beeswax to create a model and sketch that is an archive of memories and allows new things to emerge. The wax sculpture, seen in a continuous state of in-betweenness, represents a preliminary stage of traditional wax-casting processes for metal sculptures. In this wax state, the sculpture hints at the potential final (and permanent) outcome of the form.

Porcelain, rubber tubes, aluminum
Three to nine parts, each approx. 70 × 50 × 8 cm

gggfff is a group of abstract hollow forms made of porcelain. They are attached to the wall with rubber hoses and can be variably combined with each other. The title is the connotation of letters to the respective figures and changes depending on their arrangement.

Porcelain, connectors, steel  
350 × 310 × 90 cm and 360 × 70 × 50 cm

Curved and straight pipe segments made of porcelain are connected to each other and mounted at railing height.

Lasercut metal and wood plug-in system
155 × 75 × 2 cm
Website: deposit.international

50 steel panels, resembling a bank locker symstem, are for sale during a long-term auction. Sold plates are chronologically replaced by brass plates and signify a bid on the entire wall work. The course of the auction could be seen on the website.The work was created in collaboration with graphic designer Paul Rutrecht.