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Examination of pictorial spaces and reconstruction of spacial situations form the main focus of my work.
The paintings show everyday aspects of supposed idylls, the objects are places of calm and reflection.
Nature serves as the projecting surface for primal human emotion and ambivalence.
What concerns me is a new interpretation of classical pictorial topics.
The subjects are based upon photographs and patterns which are created for the films and the paintings.
A simplified view of nature and of architecture is achieved.
Apparently unspectacular locations become stage-like pictorial spaces.
Changes of viewpoint for a subject will underline the scenographic aspect. Thus, the paintings become scenes for possible plots or actions.
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The films relate to specific paintings.
The video "Ruhe auf der Flucht" (Rest during the Flight), created in 2001, is based on the painting "Rest during the Flight into Egypt" by Lucas Cranach the Elder painted in 1504.
This work translates the painting into the medium of film.
The action takes place in a three-dimensional model inspired by the original painting. In this context it is important to preserve the basic character of the original work while using minimal resources.
Now the topic is no longer exclusively the holy family’s rest but the progress and the driven existence of three people in a landscape.
The original static picture is complemented by before and after situations, whereby the resting scene forms the longest and calmest sequence.
Shed of the biblical content, the film concerns itself above all with fundamental emotional situations.
In the film "Die Toteninsel" (Island of the Dead), created in 2002 and based on Arnold Böcklin’s "Island of the Dead", the figure first covers a long distance before it reaches the island which it then, however, does not set foot on but views from various angles before continuing its journey.
The "Vertreibung aus dem Paradies" (Expulsion from Paradise), created in 2002 and based on Massaccio’s work, consists of two parts: the scenes from paradise and the worldly scenes whose linking passages re-create the feeling of Massaccio’s painting where two terribly pained people are being thrust naked from the gate.
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