to unravel is a possible way of encountering excessive demand and dealing with confusion. the choice of a technique in this sense is no anticipated decision, but a reaction to conditions and particularities. every network demands an individual strategy, a specific formal language - whether through painting, film, performance, music or texts, the process consists in trying out various possibilities of approximation. I am interested in the margins of artistic work processes. boundary lines between author, research, process and product become blurred. I copy, reinterpret, comment and deconstruct, finding myself in an ambivalent position between criticism and doubt. I’m looking for a practice that defies knee-jerk categorization and questions the distinctions between model and (finished) object, sketch and (finished) image, notes and (finished) text. fractures and connections are being moved into the centre of a process that is no longer primarily oriented towards producing, reproducing or exhibiting. my mode of operation is prevalently oriented towards a conceptual approach. I process project-related questions by dealing with connected historical and contemporary positions within the visual arts and the theoretical concepts surrounding them. I try to situate myself in an artistic discourse, although it often appears to me as already broadly processed, sometimes redundant and even needless. there is no need to cover up inevitably occurring insecurities and shortcomings, but rather to consciously address and show them. I intermingle different levels and stages of production and expose their connections and blanks, which are intuitively and associatively put into relation to one another. My work connects the loose ends of a cosmos - no set knots, but loose connections in a growing and ever-denser network. It maps ongoing processes without claiming to be complete or closed - because connections are newly formed, loosened again and contexts shift constantly.

I'm weaving