Statement

The memory of events, of the crimes of National Socialism, of German history has long been at the centre of my work. My work positions itself in an artistic tradition that repeatedly works with images of memory - which the art historian Günter Metken described in the 1970s, for example in the work of Christian Boltanski, as "securing evidence". In doing so, I investigate questions such as how memory functions, how the past can be "processed" and how the artist deals with history. The National Socialist era inscribed images of unsurpassed cruelty in our collective memory. The horrors of the past are the focus of my work. The shame for the culpability of my parents' generation obliges me to confront German history. In many works, I have chosen my own family history as the central theme. A more general examination of the political events of the past and present is also important to me. In all of my work, my abstract, non-linear and consistent multimedia approach becomes evident. Again and again, I depart from the terrain of historical events and transport them via subtle shifts and additions to another level of the factual. My aim is to disorient the viewer in order to make what has happened more comprehensible - and to deeply permeate it for me as an artist.