From concept art …

 

 

I began to really look at things because I was searching for the essence of life and the previous path I was on did not suffice.

As a concept artist, I believed that a piece did not have to be produced when the idea of it would project the same associations. Therefore, I expressed all of my ideas on the back of World Freelife Found postcards. Through modifying citations, verbal puns, and humorous ideas, I foiled all possible mechanisms regarding perception, artist-art-spectator relations, the market, the search for freedom, longing for beauty...During my first exhibition in New York, I arose the interest of a group of artists who were gathered around the AC-Project-Room, PS1 and Sandra Gering and who pushed for galleries like Pat Hearn, American Fine Arts, Nicole Klagsbrun, feature, Drawing-Center, or Blum Hellman Warehouse. We displayed our art at exhibitions in SoHo, such as the increasingly popular ‘House of Values’ of Robert Mahoney and Kathleen Cullen.

As a twenty-three-year-old, I was still radically searching. I determined that the initial wow-effect of concept art ideas could not be reproduced and that the works over time did not evolve. But that is the way it is supposed to be… Furthermore I was displeased with the irony that we employed. Irony implies a condescending attitude without offering an alternative. This was embarrassing and should change… Furthermore, I was repulsed by the fact that everyday life was being brushed aside with ideas and “funny objects”. This does not do life justice.

Thinking

These days I read Thomas Mann´s “Doktor Faustus”. This revealed complexity to me. Deep content by joining all different historical, metaphorical, typological, symbolical, ... aspects of what it means being a German, condensed in a tight composition. For Concept-Art this kind of quality is closed shop. This frightened me. I had to stop this immediately. In allusion to Beuys´ “Kapital” I developed an installation of a similar complexity about knowledge by using symbols, which I called “The Sublime Is Inside”. With this work I closed a door to a room behind me to enter a new one.

For months I did not know what was to happen. I stood on shaky ground – concept art in any event, but also my own approach; the approach determines the outcome… At any rate, I began my studies of Art History and Philosophy in order to build a firm foundation. But this did not help answer the main question. I tried to grasp life as I felt it. Don’t we all somehow carry this unquenchable longing for honest sensuality?

Rethinking

Consequently, I looked more closely at people and then discovered so much that I began to sculpt portraits. It became so very important to me to capture life and to do it justice, that the models became meaningful and novel to me. Since then I have dedicated myself to the task and have stood back from it. Without this process I am unsuccessful at portraying what it is about life that moves me. So that I am able to say at the end “It’s good that this work exists”.

Stamp printing of the WFF
Stamp of the WFF logo. All cards had this plus the number of the idea on it.