„The Traces of Exile“ is an artistic creation that emerged in 2015 during a time when a large number of refugees arrived in Europe, and many of them lost their lives on their journey to safety. The work consists of several wooden panels shaped like heads, on which dental imprints from individuals living in Austria are affixed. These dental imprints are unique traces that represent the identity of the people who left them behind.
The artwork serves as a memorial to the deceased individuals who lost their lives on their journey to safety, questioning the connection between the individual and the community. It challenges the viewer to engage with the meaning of belonging. In a time when the fate of millions on the move demands our attention, „The Traces of Exile“ provides a space for reflection on human tragedy and the importance of solidarity.
Wood / plaster / varnish, 2015
As part of the „PointLessNess“ exhibition in the Reininghaus Gründen in Graz, the artwork „Sinnlosigkeit“ (Senselessness) was presented. In this piece, various objects were repurposed and mounted on a blanket to achieve the utmost senselessness. The stairwell was blocked by an open umbrella. A six-pack of mineral water was mounted on a chair and pierced with a sharp object. The water sprayed out, collecting in the umbrella, from where it slowly dripped into the sink and then ran down the stairs.
Mixed Media, 2019
The interconnectness of faces resembling leaves is an approach designed to highlight the complexity and diversity of nature. The faces convey various emotions and character traits, illustrating that nature is not just a physical reality but also encompasses an emotional and spiritual component. The artwork encourages us to connect with nature, urging us to appreciate its beauty and power. It also serves as a reminder to be aware of the finite nature of resources, prompting us to recognize the delicate balance and fragility inherent in our natural surroundings.
Wood / varnish, 2015
Alive but lifeless despite its heartbeat, the fattened pig waits for 150 days, destined to end up ready to be served on our plates. No room to turn around. Never seen the daylight. Estranged from laughter since the beginning. How would a person react to having their lifespan limited to 150 days: without experiencing the everyday joys—traveling, visiting friends, laughing, seeing the sun, feeling the air? I offer my pig these experiences, ensuring it lives its 150 days differently. The 150 days prior, it was alive but lifeless. And now, it laughs. It lives. And I give it a name: Samuel.
2014
The interaction with body, light, and space. I myself am an object, sculpture, and subject all in one.“
2022
