In painting, I am interested in the relationship between representation and reality. The focus is on the relationship of the material paint to the painting
ground. The ground is motif, occasion and primer of the painting at the same time. I detach the subject from pictorial grammar in order to investigate the
representability of reality with painterly means.
One could create interesting word creations here to title this procedure: Concrete Hyperrealism, Illusionist
Monochromism or Abstract Illusionism.
It is obvious to leave the traditional picture ground and to use other picture supports. Through this detachment, three-dimensional paintings have
developed and, as a result, spatial paintings. Together with the background, which is also depicted, as it were, an object is created that oscillates between
painting and sculpture, but always remains painting.
To represent reality in reality, to erase what is seen by painting over it and at the same time to depict it, is absurd action and the pictorial object of my