The approach to my work can probably be best described as an entirely personal commentary on or reaction to the present-day function and handling of visual language.
On the one hand an armada of media awaits us everyday, penetrating into every aspect of life and practically bombarding us with visual language. Its commercial background stands beyond doubt, but this type of depiction nonetheless subjectively shapes our perception.
A refreshing antipode to this is formed by the art world, which unfortunately seems ever more unapproachable. Artists seem to make art for artists and to seek success only within realms defined by themselves. Visitors are nonetheless highly coveted, because attention is the new gold. The “welcome” visitors thus make use of an earbud that explains to them what they would not understand without this technical aid or extensive research
carried out in advance.
But there is still art on the street: bitterly needed new developments outside any markets and made solely for the public space. Its protagonists seem to be clearly aware that Everyman is the toughest critic. In no way does this make their messages clumsy. They are more highly developed, so that they can still succeed in presenting themselves to their fast-paced critics alongside a flood of colourful advertising messages.
Where these realms are then linked to the fundamental idea of producing images that once again move their viewers directly, without earbuds and without a commercial motivation, a commentary on this situation is produced through the only acceptable means: the image itself.