Lives in Vienna, Austria
How do you describe your own art practice?
I have a hard time cleaning up. A certain sloppy combination of materials might be urgently needed later. I document every state of the space before rearranging. My interest lies in the professional quality of these provisional gestures.
Which question or theme is central in your work?
What distinguishes a sculpture from an (un)intentional combination of material? I would like to suggest, as a precondition for a sculpture, that it could be used as a drum kit for an industrial band – that is, with opportunities to decay (with some pathos). And at the same time, it should exude a certain serenity – as if from a stagnant body of water.
What was your first experience with art?
A colleague copied a mistake I had made. The stains of liquid glue on black paper (instead of the heads of the ravens) opened up a new order.
What is your greatest source of inspiration?
Swimming in chlorinated pools and washing my car on Sundays.
What do you need in order to create your work?
An empty cup of tea and about 500 Euros.
What work or artist has most recently surprised you?
I’m in constant dialogue with colleagues of mine like Karoline Dausien, Kerstin von Gabain, Helmut Heiss, Liesl Raff – I know their work pretty well but the progress surprises me all the time.