My work with glass does not necessarily stand in the tradition of craftsmanship. Although the glass melting furnace and the workbench are at the center of the workshop, they are not necessarily the starting point of my artistic work. My work began with this traditional technique. Vessel forms and representational works stood at the beginning of my creative work in and with glass.
In the course of my activity, I have increasingly reduced my formal language and have largely turned away from functional forms. My interest in painting became increasingly important to me in my work.
Simple geometric forms were created, to which I applied painting in the preliminary work and then finally covered with clear glass. It was a natural progression to move from the combination of sculptural form and painting to a pictorial form. To achieve this, I fuse glass into thin plates, which I then matte. However, it is important to me to still give my pictures on glass the transparency that was possible with the sculptural glass form. For this reason, I mount the glass pictures on plasterboard at a distance using glass spacers. The material of the carrier plate and the construction allow light behind my picture and give it the transparency that is important to me. In the background, or underground, one can recognize photographs in my pictures that I use as a starting point for my painting. For me, these are important moments of my life that can only be seen dimly through my painting. Documentary representation is unimportant to me. My painting gives it new life and meaning.
The documentary representation is given new life and a new meaning through my painting.
