Positioning and Tone
I use natural fibers and plant-based pigments to create ephemeral spaces. Each work documents the process of fading and change – an invitation to contemplate time itself.
„The fragility of the material is not a flaw, but the actual message.“
Field recordings of urban environments become compositions that adapt to the flow of passersby. My sound installations transform subway stations into reflective in-between spaces.
„The noise of the city becomes the score – I merely give it a stage.“
Using local black earth and self-harvested mineral glazes, objects emerge between utility and sculpture. Each piece bears the trace of the hand and the fire.
„The imperfection of the firing is the actual artwork.“
This place was born from the desire to create a protected framework where creative ideas can grow without commercial pressure. Every project begins with a question, not a plan.
Impact: more authentic works and more honest encounters with the audience.We work with natural fabrics, pigments, clay, and sound – not because it is trendy, but because every material tells its own story. The texture and smell are part of the work.
Impact: works that are not only seen but felt.In a world of fast images, we rely on processes that take time: the drying of canvas, the fading of a sound, the firing of ceramics. The result is not a product but a testimony.
Impact: works with depth that reward repeated viewing.Every exhibition, every installation is an invitation to conversation. Visitors are not spectators but co-creators of meaning. Their reactions and interpretations complete the work.
Impact: a living, constantly evolving collection.We use local raw materials, recycled materials, and minimize waste. Sustainability is not a label but a logical consequence of respect for the material and the environment.
Impact: works that can be viewed without a guilty conscience.Not every experiment succeeds. Cracks in the clay, faded colors, unexpected sounds – all of this is part of the work. We also show the failures, because they are often the most instructive pieces.
Impact: a culture of openness and learning.Milestones
What began in 2015 as a small ceramics workshop in Munich's city center is now a versatile studio for textile installations, generative soundscapes, and sculptural objects. The first turning point came in 2017 when participation in the "Biennale of Young Art" in Stuttgart caught the attention of a Berlin gallery. The resulting collaboration opened doors to international residencies and led to a realignment: away from purely functional pieces, towards conceptual projects that put material and space into dialogue.
In 2020, the move to a larger studio in Munich's Westend followed, where interdisciplinary teams of potters, sound designers, and textile artists have been working ever since. Another milestone was the invitation to "Art Basel" in 2022, where the installation "Pigment Fragile" was presented to a broad audience for the first time. Since 2023, the focus has been on site-specific works in public spaces – including a permanent sound project at the Hauptbahnhof subway station and a series of ceramic sculptures for the sculpture park at Olympiasee.
Answers about my working methods, projects, and creative processes.
I work with pigments from plants and local minerals. The colors are applied directly to untreated fibers and change over weeks. Each installation documents this natural decay – a deliberate process that makes transience visible.
Yes, individual works from past series are available upon request. I am happy to advise you on size, material, and presentation. Simply send me a message via the contact form – I will get back to you within two business days.
I open my studio to small groups at irregular intervals. The dates are announced on this page and in the newsletter. If you have a specific request for a school project or an association, please contact me directly.
This depends heavily on the scope and the materials used. A textile work with natural pigments takes about three to four months – from material procurement through dyeing to final assembly. For site-specific projects, on-site research is added.
Yes, collaborations are an important part of my practice. Most recently, I worked with a sound designer on an auditory spatial installation and developed a series of objects with a ceramicist. If you have an idea for a joint project, I look forward to your message.