Tampen
Feb 2024, PaintDrawing, Charcoal on Acylic Canvas, 170x170cm
Tampen II
Feb 2024, PaintDrawing, Charcoal on Acylic Canvas, 160x145cm
Grid
June 2024, PaintDrawing, Charcoal on Acylic Canvas, 160x145cm
Mosaikdrawing S
July 2024, PaintDrawing, Charcoal on Acylic Canvas, 180x200cm
Mosaikdrawing Lightning II – Tetratypon
July 2024, PaintDrawing, Charcoal on Acylic Canvas, 175x240cm
Mosaikdrawing Lightning II
July 2024, PaintDrawing, Charcoal on Acylic Canvas, 175x240cm
Etna and so-called "Etna flower", according to Googles and Chatgpt4 2024 a "typical" Etna plant. After detailed research Etna flower is not native to Mount Etna. It grows in completely different continent. The work Etna Blossoms describes the search for home and origin. Painstakingly portrayed them over many hours, posted them, received benevolent comments from the local family and erased the original drawings in a few seconds. But the once drawn Etna blossom remains, it pushes through. A work about origin and migration and the fallibility and stereotyping of algorithms that contribute to the spread of misinformation, promote the formation of filter bubbles, enable manipulation, are opaque and reinforce existing prejudices.
145x145cm/155×155 cm, Feb 2024
MOSAIC Etna Flower, Feb 2024
2x35x23 cm, graphite on canvas, black spay paint
MOSAIC, erased Etna/Etnaflower
2x35x23 cm, graphite on canvas, 2024
Fake Etna Terrazzino Mosaic on Fake Cristal Tray, mosaic glass stones, expoxy resin, 30×30 cm
Fake Etna Terrazzino Mosaico on Fake oriental ornament tray, mosaic glass stones, expoxy resin, 35×47 cm
Fake Etna Terrazzino Mosaic on original DDR Fake Cristal Trays, mosaic glass stones, pvc, expoxy resin, 30×15 cm
Fake Etna Terrazzino Mosaic on original DDR Fake Cristal Trays, mosaic glass stones, expoxy resin, 30×30 cm
Fake Etna Terrazzino Mosaic on Faux Concrete Tray, 30x30cm
MOSAIC Absurdity
Feb 2024, Mosaik Drawings, Glassstones, Papers 170x170cm
MOSAIC Absurdity, serie,
Angela Merkel, Ursula von der Leyen – Cutout –, Feb 2024
The series „Mosaic Absurdity“ portray a selection of powerful and influential individuals, politicians, entrepreneurs, and public figures, depicted in positive settings, both as children and adults, laughing and playing amidst whimsical, cheerful animals and fairy-tale landscapes. The artwork underscores the powerlessness of the average person, highlighting how a small elite group can wield significant influence over politics, social media, AI, chatbots, and search engines. They shape algorithms to their advantage, controlling history, laws, and technologies. Through targeted advertising campaigns and curated content, these elites determine which information gets prominence. By employing PR and AI experts, they enhance their visibility and control public narratives. Lobbying efforts further allow them to set guidelines and standards for AI and search algorithms, ultimately shaping public perceptions and search results to serve their interests.
MOSAIC Absurdity, serie,
Oprah Winfrey, Björn Höcke, Girogia Meloni – Cutout –, Feb 2024
MOSAIC Absurdity, serie,
Mark Zuckerberg, Jeff Bezos, Elon Musk – Cutout –, Feb 2024
MOSAIC Absurdity, serie,
Donald Trump, Joe Biden – Cutout –, Feb 2024
MOSAIC Absurdity, serie,
Bull, Bear & Dragon – Cutout –, Feb 2024
MOSAIC Absurdity, Selfportrait – Me, Wladi and the Flying Giraffes II, Feb 2024
The drawing, „Call me Foot“ portrays a foot generated by artificial intelligence. Source of the data always remains in the dark. The user is left with little alternative but to trust. „Call me a foot“, shows a deformed foot with an excess toe, typical of AI-generated images of the early 2020s. „Call me Foot“, „Six Fingers“ and several other drawings reflect the daily use of AI, Social Media, Filters, News
Statistically, the most popular and best-selling works according to AI are predominantly blue and red. The work „Blue and Red“, a collage of plain blue and red tracing paper, symbolizes the over-reliance on AI and its algorithms. Algorithms often develop faster than ethical guidelines and regulations, which can encourage problematic decisions. They can produce biased results when trained with biased data, leading to discrimination and reinforcement of existing biases. Without clear transparency mechanisms, it is difficult to hold those responsible accountable. Algorithms can be used for mass surveillance and invasion of privacy, and collected data can be misused. In addition, the automation of jobs can lead to job losses and economic uncertainty. The economic benefits of algorithms are often unevenly distributed, leading to greater social inequality. Algorithms are vulnerable to manipulation and cyber-attacks and can fail unpredictably in safety-critical applications, posing significant risks.
the search of perfection, series of 5, graphite on paper, 40 x 50 cm
The search for perfection is fuelled by social media, filters, surgeries to superlatives. In the process, reality is distorted by exaggerations and embellishments. The work Skins portrays deformed human and animal bodies with all their flaws and supposed weaknesses. Folds, wrinkles, holes, crevices are explicitly peeled out and brought into a new shape in all their beauty.
Triptychon, prioritisation of production goals over animal welfare. Animals and humans share biological characteristics and complex social interactions. The drawings represent this prioritisation to which animals and humans are exposed.
Paintdrawings of emerged realities – imaginary, virtual generated, real or new physical spaces to colonise, fostering geopolitical tensions, territorial disputes, and resource competition. Black and white cubes amidst vibrant color spaces, inspired by ancient fairy tales, good and evil with nuances in between.
Abstract paintings with macrocosmic and microcosmic elements. Organic, cellular representation of small, floating particles that expand into larger structures and dimensions, giving the impression of infinite, cosmic space. The paintings reflect the fundamental principles of self-organisation and emergence, which are effective on both a cosmic and cellular level, the universal structure and complexity that underlies all levels of existence and encourages in-depth reflection on the inherent unity and social responsibility that lies in the tension between individual autonomy and collective influence.
The ability of animals in the wild to care for their offspring is threatened by a variety of factors. The preservation of natural habitats, climate protection measures and protection from human interference are crucial to ensure the survival of offspring and the continued existence of species. Mother’s love plays an essential role and is often the key to the survival of the young in a rapidly changing world. The Mother’s Love series is a mosaic drawing that is constantly growing, its arrangement is arbitrary, the individual pictures should be in a clear sequence. Recognizable. As soon as they are jumbled up, as soon as they are out of order, the motif is lost. Indicative of the daily struggle to hide, of the animal and its offspring searching for order and security.
since Oct 2022 to be continued to infinite size, different species, same love. 2 x Nonaptychon, 1x24piece Mosaic,
(each piece 40 x 50 cm) Ape 300 x 240 cm, Fox 180 x 150 cm,
Stirk 180 x 150 cm, graphite on paper
Portrait of the Sicilian mother. Strong arms, once flailed wildly by kneaded bread dough. Dissolving into a landscape. Breadwinner and fertilizer for future generations.
Water, life-giving nature and the deadly threat. The structure of the water waves is identical to human skin structures, only the outer contour gives the different shapes. Similar to individual escape situations: Not all refugees are the same. Nationality, gender, age, skin colour or religion are decisive for a legal culture of welcome.
Factory farming poses risks such as health problems due to overpopulation, environmental pollution due to waste and animal abuse due to the prioritisation of production goals over animal welfare. Animals and humans are closely connected, both through shared biological characteristics and complex social interactions. The drawings represent this prioritisation by illustrating the living conditions and stress to which animals and humans are exposed.
„Fisch Frist Fisch“ (Fish eats Fish) is a reference to Kant’s quote the fish is both man’s father and mother. The drawing portrays modern man who creates and abolishes himself through a lack of species justice and sustainability.
MOSAIC, Root and Crown I, graphite on paper, 40 x 50 cm
„Edmond“ (novel, work in progress), story of a rubbish collector, who generates a new artificial life for himself on the computer. He generates vermin to follow him around like a queen ant. His followers are artificial cockroaches, maggots, ants – vermin – that are supposed to suggest real life to him. 2014 „My piss dries on my feet“
2021 Triptych of a female monkey surrounded by blackness. In an experimental laboratory, a female monkey was kept in dark isolation by a research team throughout her life. She only had contact with the outside world for cleaning and feeding. The monkey became severely depressed and aggressive, unable to reproduce and unable to care for her own brood, she finally died out in fear and despair. The drawing represents a character from the unfinished novel „Edmond“. The monkey, an old woman from a retirement home, blind, deaf and mute, vegetating, clean and dry, but without any form of stimulation apart from the radio droning away and occasionally some sunlight and the work of the carers.
