Selected Artist — Open Call 2026
About
An important aspect of all my work is combining different sensory inputs to deepen the experience of perception in space. I aim to explore various dimensions and properties of space simultaneously; to do so, I must examine each dimension individually, construct different perspectives, and develop concepts of space.
I work with various media — painting in two-dimensional space, using spatial axes and coordinate systems as organising principles; sculptural forms that extend into three dimensions; as well as light, video, and sound installations, each of which engages different levels of space. I am interested in intertwining space and time into a network of colour, light, frequencies, and vibrations; in activating and sensitising the act of seeing; and in highlighting and emphasising the subtle qualities of space, colour, and light.
Selected works
Aquamarin, 2020 — light and sound installation, 400 × 300 × 300 cm
CLASP, 2015 — light installation, Kunsthaus Bregenz Facade Project
ErdenLicht, 2019 — sculptural light & sound installation, Ø 1200 cm
North-South-East-West, 2022 — kinetic light & sound sculpture, 300 cm high
CLASP, Johanniterkirche, 2014 — light installation
Manifolds and Eightfolds — compilation of paintings, 2010–2024, acrylic & fabric tape on canvas, each 120 × 120 cm
Q & A
Is geometry a constraint or a freedom for you — and has that answer ever changed?
Geometry is the perfect structure to manoeuvre into limitless possibilities. I feel my language and practice is part of this tradition. If you get to a point of resistance, it means your idea starts to manifest itself.
Is there something outside of art — a system, structure, or phenomenon — that quietly shapes how you think about form?
I am very interested in astrophysics, String Theory, Field Theory.
What does a viewer miss when they see your work as 'just geometry'?
If a viewer only perceives the geometric structure of the work, it means that vibrations, frequencies, perception and the intrinsic nature of the work has not been experienced. To do so it needs time.
What's the last rule you set for yourself in the work, and did you keep it?
To work every time precise and intentful — but it is not always possible.
Describe a failure or a dead end in your practice — something that didn't work.
If I stray from my path in my practice and try to be too experimental in my work, I usually fail.
