When I started my studies, sculpture and object-installation were my prefered media to describe my ideas and inner sensations. Working in materials like wood, plaster and paper, I regarded these works as three-dimensional objects existing within a defined quality of emotion, space and time. In the course of my practise, I became more and more aware that I wanted to start projects utilising a broader variety of forms.
I felt the multi-layered interpretations and meanings we all experience in our individual life, are better reflected in a multitude of appearances. Book-binding, sewing, photography, performance were some means I began to use to define and present my work.
Some of these projects make use of means which challenge the definition of authorship by accepting someone from "outside" to participate in, for example, a performance, or by asking other people to contribute to a project. Or by using forms, which conceal the individual "hand" of the author, e.g. in photography and printing, multiplying artworks as identical copies.
Currently my interest is in ordinary phenomena with extraordinary significance, like the ways we use to define and protect ourselves (e.g.clothing, houses), or our means of communication (e.g.words, stamps, posters).
One forthcoming project engages with the design of facades of terrace houses in London, another with the striking visual dominance of city gents in the financial district of London.

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