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Tuesday, 2 December 2014


 Exciting news from Berlin,  Gute Nachrichten aus Berlin..:-)

My painting " Holes in our mind" was sold to an Collector in Berlin.
I miss the cold winters now, after having spent many Christmases in tropical heat, very difficult to cope with if you are from Northern Europe.
Well, a part of me is now celebrating Winter in Berlin.
Thank you, Art Collector.

Sunday, 16 November 2014


I guess many of you, will be familiar with the concept of the artist being the seismograph of society, the great fore teller, the one with emotional and mental filters open wide. This concept is highly fascinating to me, not only because I am a witness to it everyday, but also how intriguingly accurate, the unconscious and unspoken worlds are.

" Study of Figure 3"- Charcoal on Paper/ 2011

" Study of Figure-4". Charcoal on Paper/ 2011. 

I am always taking risks when working, if I don't take risks, the work goes stale, if I take it...I might destroy it. I usually go with the risk, because I trust the process to lead me, where I need to go...and usually it leads me into deep territory.

" Dancer", Biro on Paper/ 2010.

The language of symbols and images is inherent in all of us and it can be a powerful medium for transformation. 


Some more exciting news, with regards to exhibitions for 2014. 
One of my artworks has been selected to feature alongside the Queensland Regional Art Awards Exhibition " Living Change", as part of the Emerging Artist Space in Childers. The painting is called " The balance of things" and is currently installed at CHARTS Emerging Artist Space, until the 10th of January 2015. 

Tuesday, 28 October 2014


To my absolute delight, I received some great news last week, that " We could not find Atlantis" was sold to an Art Collector in Brisbane! Thank you, Universe...:-)
I was very happy about this, but felt a bit sad too...as it is like giving away a part of you, your work is like your child, which you helped to bring into the world, and then there comes a time to let go...
I am hoping, that the work will continue to cast it's energy, wherever it will be...and that people will be moved and inspired by it!

Friday, 10 October 2014


I have exciting news to share, my painting "We could not find Atlantis" has been selected as a Finalist in the Queensland Figurative Award- 2014.  

Wednesday, 27 August 2014


" Queen of Lines"- 1/5 - Faber Castell Pen, Biron on Paper, Digital Pen  

Living in a different country can be a very interesting experience. It is an ever challenging adventure, where you are constantly reevaluating yourself and your surroundings. It can leave you feeling bemused, puzzled and sometimes outright confused.
I have certainly found a lot of things very odd, since living in Australia.
Whilst for most of the Australians it is completely normal to think or behave in a certain way, I am left feeling bewildered by some of the " other " behaviour. Most people hardly entertain the idea to ride a bicycle or walk somewhere in Australia. You see, it is absolutely normal and sometimes even expected in Germany, that if you can walk somewhere you actually do that, the same goes for riding your bicycle.  
There are literally MILLIONS of GERMANS, who ride their push bike every day and don't even own a car. And the good thing is, we don't even have to wear helmet. How's that for personal freedom? And we also don't have to fear certain car drivers, whose sacred mission in life it is to scare the shit out of every cyclist. Yes, I know Australia you find it very hard to believe this, but there are actually other countries in the world, where cars and  bicycles happily co exist. Well for most of the time..

" Ernst Ludwig Kirchner- Soldier Studio"- Collage on Paper, Digital Pen- 2014
                                 Now, what does all of this expat bicycle ranting have to do with ART?
Well, quite frankly speaking it has a lot to do with art, because.... " ART, that has an atmosphere of otherness" is like the annoying cyclist, which stubbornly refuses to change his lane. He stays in his lane, continuing on his path, knowing that in the wide brown land he is a minority. He stays on his path, despite the dangers of abuse and risking to be run over by the majority.
See, the value of otherness can only be appreciated, if you are open to the notion, that what you believe in and hold true for yourself ( cyclists don't belong on roads) can mean absolute bollocks to somebody on the other side of the world ( cars are stupid). Everything can turn upside down for you, (which is sort of  true looking at our roundly shaped planet),that we are literally standing upside down in Australia....at least from a German point of view. So what I am actually trying to say is...( note to self) that we must ride our bikes more and only stay in one lane. Hahaha!
Well sort of, but what I am really trying to say is ..Folks, you need to get out and experience " Otherness" in all its glowing glory!  "Otherness" in Art means to be shocked, repulsed and being out of your comfort zone. It means you have to dodge the pretty blue skies, the brown ever repetitive landscapes and the farm animals, you have to stop making and looking at art that is nice. 

 You have to be brave enough to jump into the muddy waters of unease, when looking at art. Nobody's life has been changed by looking at pristine Ocean paintings. Life is not about everything being tranquil, colorful and choosing an easy subject matter. Life is the absolute opposite of that, so let me ask you...why are we not incorporating this into Art? Why are so many people held back, because they think in order to sell, their work needs to be accessible to the wider public?
Well, you know what I think....I think " scheiss drauf"! Making art is about tapping into your soul, reaching into the deep waters of the self, whilst expressing who you really are. The real you, not just a watered down version, that is likable.Whose art is it, when you are being guided by an internalized idea of what you think makes "good art"? Whose idea is it, yours or theirs?  Self-Censorship is ripe in this country and it is infiltrating the very core of what art is all about.  

Are you in charge of the brush? Or other people? 



I took part in another group exhibition at LA 51 Art Gallery in August, where the gallery was  officially opened by Mrs Saxon Rice - Member for Mount Coo-Tha and Phil Brown, who is the Arts Editor for the Brisbane Courier Mail.

It was a very interesting opening night and many friends came to support me and my work. Some of the works generated great interest, as people were asking for the concept behind my practice. Many of my works are highly symbolised, where each colour, line and form has its own distinct meaning, forming part of the whole composition. I draw a lot of inspiration from German Expressionism, as well as from the Old Masters, like Tintoretto and Titian, only to name a few.

People often say, that my work has an " European Feel", that one could see in my paintings a very distinct heritage and influence. I find this highly fascinating, that through no conscious effort my work actually shows the signature of my home country. It is particularly interesting, that only people from Australia ( the other side of the world)  are pointing this out. I guess, it always comes down to the effect of " otherness" and that it is a lot easier to note a certain style or patterns, when you are foreign to something. This something could be a country, art, different cultures etc.

Wednesday, 6 August 2014


I was part of another exhibition in July this year, which was a group exhibition at the Old Bomb Factory in Salisbury, Brisbane.  The Gallery is part of an Art School teaching in the traditional Atelier Method.  I have been studying at Atelier Art Classes for nearly over a year now, and must say that learning how to paint and draw in a structured skill-based environment, has been of enormous benefit to my practice. I can really see, how my work has changed, when it comes to technique. Before that, I always felt like I could not " say what I want in a painting, because I did not know the language". Having the visual foundations to construct a painting or the  human figure , I am now able to give form to  whatever wants to come through the channels of consciousness.  The possibilities are endless....and the learning never stops.


Just recently, I participated in an Artist Call Out for a newly established Art Gallery named LA51 Gallery  in Brisbane. Lucky me, I got selected to take part in their Launch Exhibition alongside 16 other artists. The opening night was packed and many people came to look at the artworks, it was a really great night and everyone enjoyed themselves. People asked me about my work and the meaning behind it, which was very engaging.

Friday, 28 February 2014


 Whenever I travel back home to Germany, I am trying to fit in as much time as possible to see some of the great museums and galleries, while I am there. Having been to Munich many times before, I visited the "Pinakothek der Moderne" as well as the "Neue Pinakothek". This time around it was time to see the old masters. I put this down to my recent interest in learning all the "old skills" on how to draw the figure, as well as observing nature, learning from life. It seems without this foundation, my work lacks a certain structure base.  The more I am learning to see and structure a painting the " traditional way", the more it seems to flow and carries with it a stability, that would otherwise be hard to achieve.

For a long, long time I resisted the notion of trying to paint and draw " realistically", which was mainly due to the fact, that I thought I could not do it and that one has to be born with a " gift" to draw, which in hindsight is utter bullshitt..:-), but go tell that to a young child. The myth of the "special talent" in regard to drawing and painting has stopped so many people from realizing their dreams. In the end, no one cares if you have talent or not, what counts is to show up to work every day in the studio. No talent will help you with your work, if you don't have the right work ethic. In this regard it was extremely reassuring for me to walk amongst the great masters at the ""Alte Pinakothek", because as soon as I stepped foot in the first room of paintings, I was awestruck.

It felt like I arrived at the " inner space", that I belonged to. To be with and look at these old paintings, that are hundreds of years old is a very special experience. It is like they hold the energy of their time within them. I feel a great surge of awe, wonder and respect for the painters, that created these works and it felt like a homecoming to me. There were many times in museums, where I was close to tears because I feel so moved by the experience. I think part of this is also my European soul, who connects with all the forces/ energies and history of my homeland, and feels so glad to have been " clicked backed into place" for a while. Living on the other side of the world, is in that regard a very unique experience.

The other very important insight was, that in order to really " get " masterpieces you actually have to stand in front of them. I was never really able to appreciate Raphael until I stood in front the  "Canigiani-Holy Family", the same with Rembrandt and Rubens...there is no other way to feel their presence, see the technique, glazing and composition...
 A copy can never, ever do a masterpiece justice. My advice would be to visit and see as much museums, galleries etc. as possible, in order to develop the skill of seeing and sensing great works of art.

Another encouraging moment was to see a couple of oils sketches by Rubens, which showed his process,  failed attempts and mistakes, which otherwise we often don't get to see. For any artist, this is a great opportunity to demystify the work of many great artists and it brings back a sense of reality to the doubtful aspiring artist. Knowing, that one is in good company and that many more before us have grappled with the problems of composition, light and form is a very reassuring confirmation. I certainly felt very inspired and ready to tackle new works, after having been to the "" Alte Pinakothek" in Munich. It also taught me to have a lot more patience and diligence, when approaching new works. Watch this space for a new focus on painting!