(AT) Masking is survival. It is imitation, repetition, adaptation. A perfect script, rehearsed until it feels real. A reflection of what the world expects. A quiet effort to belong.
Unmasking is the undoing. It is stepping outside the script, dropping the practised gestures, and letting silence replace forced words. It is terrifying, but it is also freeing.
But the mask leaves traces. Years of blending in carve invisible lines. The weight of pretending lingers. It shapes the way we move, speak, and exist.
Glass has the same contradictions. It appears solid but is fragile. It reflects but distorts. It protects but separates. Cracks form under pressure.
And when the glass shatters? It does not disappear. It catches the light in new ways. It transforms. It becomes something real. Something whole.
To unmask is not to break. It is to let the light through.

Abortion and depression – topics shrouded in deep societal stigma, much like the glass that symbolizes them. Glass, transparent yet fragile, often conceals its internal structure, just as these subjects remain hidden, yet ever-present. Chosen as a medium, glass becomes a vessel of profound meaning: it represents fragility and vulnerability, but also resilience and hope, embedded within these experiences.

In its transparency, glass reveals what often remains in darkness. It invites us to look beyond the obvious, to make the invisible visible. The art of glass creates a space for reflection and dialogue, where silence is broken, and the hidden comes to light. By mirroring both the delicacy and strength of these themes, it opens new ways to engage with abortion and depression openly, helping to dismantle the societal barriers that keep them unseen.

The work Breaking Point is a triptych that explores the tension between strength and fragility. At its core lies the phenomenon of the Prince Rupert’s Drop—a droplet of molten glass that, when rapidly cooled in water, forms an almost indestructible outer shell. Yet this external stability is deceptive: a single crack at the drop’s delicate tail can cause the entire structure to shatter.

This fragile balance between external power and inner vulnerability serves as a central metaphor for the human experience. The work examines the tension between apparent invincibility and the ever-present risk of breaking apart.

The sculptural engagement with glass and its physical properties becomes a symbol of the duality of strength and fragility—themes that are omnipresent both on a personal and societal level. Breaking Point visualizes the intricate dynamics of power and collapse, inviting the viewer to reflect on the fragility of seemingly stable structures.

What is the meaning of life? A question that has shaped human thought for centuries, reduced to a single, enigmatic number: 42. A mathematical certainty. A cosmic joke. A placeholder for everything we cannot grasp.

But what if life is not a question to be answered, but a series of reflections? If existence is not about finding meaning, but about experiencing its fragments? Through 42 self-portraits, this work becomes an exploration of identity, shifting perspectives, and the impossibility of a singular truth.

Each portrait stands as a moment in time. A version of the self that exists only in that instant, only in that gaze. Yet, taken together, they form a paradox: Are they one, or many? Do they reveal the self, or obscure it? If the answer is 42, then perhaps it is not an answer at all, but an invitation.

An invitation to look, to question, to accept that the self is fluid, shifting, and ultimately unknowable. Meaning is not found in the sum but in the search. And maybe, just maybe, 42 is enough.

56x AI-generated lilies, burned onto baryta paper, 10 x 12 cm, 2023.

In symbolism, the white lily represents purity and fertility, yet behind its elegance lies the reality of female struggles. Amid societal pressure and gender norms, the battles for mental health remain unseen.

Memories, dreams, and moments that never existed. To think, think over, and think apart. Stories tell themselves through each narrative. In an in-between world in which thesis and antithesis lie very close together, the individual limit their flow of thought.
As we navigate the world of these creations, we can tap into a realm of pure imagination where anything is possible. The only limitation is our mind. In this world, such appearances can come to life, taking on a new form and meaning as they are captured in images that have never before been seen.
These images reflect the zeitgeist, a snapshot of the collective consciousness at a particular moment. They allow us to see the world through a different lens, one that is shaped by the individual‘s perspective and experiences. As we examine these creations, we can reflect on ourselves, our desires, and our fears, all captured in a diary that speaks of no real-time but rather the ever-shifting landscape of the human experience.
We can unravel the threads of our narratives, piecing together a story that is uniquely our own. As we explore the world of creations, we can uncover the deepest and most intimate parts of ourselves, unlocking the true potential of our subconscious minds. We are given a chance to explore the intersection of imagination and reality, where the lines between the two become blurred, and we are free to roam the true essence of ourselves.

The series „The Limping Race Horse“ shows AI-generated artwork that incorporates poetry and personal diary fragments into its creation. Using AI DallE2, a language model developed by OpenAI, textual prompts were generated that combined the poem „Injured Pigeon“ and pieces from the artist‘s diary.
These prompts were then fed into an AI Text-to-image generator that utilized a combination of advanced techniques to create the final images. Inpainting was used to fill in missing or damaged parts of the pictures, while outpainting generated new elements to extend the image beyond its original boundaries. Prompt whispering allowed for adjustments to the textual prompts, producing the desired artistic effect.

In everyday life, expectation never captures reality. It is often a beautiful vision and becomes an impossible burden. Socialization is such a funny thing. So it happens that common weaknesses bring us apart. We need to know which one is infallible. If I am not one, do I have to be the other? Someone must make sense of it if the other person loses their mind. A balancing act calls for coexistence at eye level. One carries the other and vice versa. Far from violence and power, an ethic is developing that embraces both. Inequality is an ideological catastrophe because I recognize myself in the reflection of your eyes. You carry me, so I do you. Finding the right path in avoiding steps, we used to dance before. It is not the same old song with unspoken words. "The balance between us" is an installation piece out of three panels inspired by a medical screen. The photographs show the act of carrying each other and trying to find a balance in a binary relationship. For this reason, the display becomes a piece that must be balanced. It is like a clinical study that plays with the materials to create a feeling of comfort and discomfort.

Installation work, 139 x 178 x 3 cm – Triptych, frame made of construction steel, 100% lightweight satin silk 50gsm, 2022

The instrument in question is called the double fiddle, and it was historically used to punish two individuals who had gotten into a fight with each other. Clamped in the device, the two people stood opposite each other and had to maintain constant eye contact throughout the punishment.

The performance explores the idea of moving away from each other and finding each other again. Each act of pushing away is simultaneously a hold that helps the person being pushed away maintain their balance. This dynamic creates tension between the two performers, struggling to maintain their connection even as they push against each other.

Through this performance, I aim to explore the complexities of human relationships and how body language can convey and conceal meaning. Using the double fiddle as a prop adds an additional layer of meaning, as it speaks to the history of violence and punishment that is often hidden beneath the surface of our interactions.

I believe that my work resonates strongly with the curatorial theme of „Body Language.“ By using the body as a means of communication and exploring the tensions and power dynamics within human relationships, I hope to contribute to a broader conversation about how our bodies shape and are shaped by our social and cultural contexts.

"Bodystudies" is a series of small bronze relief created in 2022, measuring 6 x 7 cm each. The bronzes are inspired by Marianne Wex's book "Let's Take Back our Space", which explores gender and power dynamics by studying body language and posture. Using 3D body scans, it shows a series of abstract forms that capture the fluidity and complexity of the human body. The sculptures invite the viewer to consider how we inhabit space and how our bodies can be used to assert power and dominance. Through their small size and intimate nature, "Bodystudies" creates a dialogue between the individual and the collective, highlighting the ongoing struggle for agency and autonomy in our physical and social environments.

Some things are meant to hold life in. Others, to keep death contained. A plug, a final barrier between what was and what remains. A silent guardian of dignity, pressed into place not to preserve, but to prevent. To stop what was once held together by breath from unravelling too soon. No ceremony, no poetry—just a functional end to a functional body.
It does not restore, does not heal, does not honour. It merely contains. Holds in what is no longer needed, as if the body itself must be kept from leaking into the world. As if death, in its rawest form, must be tidied up, and made palatable for the living. But the body knows. It resists, expands, and collapses. It is not meant to be sealed. It is meant to return, to break down, to merge with the earth or the fire or the forgetting.
And yet, the plug remains. Not as a symbol of preservation, but of delay. A futile pause in an unstoppable process. A final act of control in a moment where control no longer matters.

Under the surface of the superficial are significant issues which touch every part of our lives. They are affecting our perception in any possible way, from school education to our health care system. Sometimes they can cause enormous damage, like depression, or in my case, depression procures by structures and norms our society believes in, like hot water that heats up until you burn your skin. Some call it hysteria or manifest it as craziness. Problematic is the social meaning that we ascribe to the human body, which is rooted as an intended failure or, in other words, the horse‘s mouth of gender. As men don‘t have female bodies, they skip the fact that women, or people who identify themselves as female, stumble upon other problems in daily life. We live our lives like defective male beings because our differences are ignored and converted into gender-neutral. Unasked, we have to face unequal payment, sexual harassment, male violence, unpaid workload and still have to act like little princesses perfect we can call it discrimination against women supported through education and socialisation.

It is weird to grow older and realise what your mother has been through after a specific time, the façade of the perfect life begins to crack, and the crumbling plaster reveals the broken foundation. They say: don‘t look too deeply into things, or you will look backwards. It feels like I am looking at myself apart from my body and judging whether I am behaving correctly. The photograph serves as a marker to show me where I was and how I moved on. It is about the process of therapy and healing and gives me a safe space to speak out my silence when in moments, I lose my voice. A silence that is coming out of my experience of growing up to be or become a better woman.

To exist, yet to be unable to create. Composed differently to be the last of its kind. Objectively a miracle, it is a bastard in the vernacular. A deviation that has emerged from different species' procreation; a defective material arises from the joining of affective processes. A titular hybrid, but more likely a dead end of evolution. The performance of the sexual act is not impossible, though the urge is weak. Males are always infertile, but fertility is an occasional occurrence for the feminine. The dowry of the mother predominates. The hybrid: nature's ultimate artwork. Not the standard, yet possible. The predominant hereditary traits show the origin, but they appear stunted. Cognitively more capable than its parents, yet unable to reproduce. Denying is pointless. It is what it is. The body is for labor, but no labor of love. Able to withstand the yoke of its purpose. However uncommon, it is obliged to do its part ahead of death - with the duty to die at the end. - In cooperation with The Natural History Museum of Denmark & Westphalian Museum of Natural History.

Humanity is taught to be megalomanic; impatience is a result. Starting in childhood, the burden of success resonates in the cradle. Failure as shame. What remains? What is left? Something enormous? Something breathtaking? Or just dusty photographs, threatening to fade? Important- be of importance. Who dictates the evaluation of our lives? Am I significant? Or just a feather in the wind? Nice to look at but insignificant. Just as unimportant as short-lived. We build towers full of longing and desire at our foundations. But often our inadequacies predominate and with the strength remaining one tries to sustain the creative urge. Failure, the constant companion, diverts such concerns. An act of balance. Cadaver on cadaver, we stack fragile towers to ensure that long-failed ideals ultimately are not lost. Such that exist only in our thoughts. The system is shaky and brittle. Building something new from this - borders on megalomania. We have seen it - and now the inescapable scandal. The tower falls beneath its own weight.

Becoming is painful. Change is not gentle. It stretches, pulls, and breaks. Like water heating slowly, you don’t notice the burn until it’s too late. Depression does not arrive suddenly. It grows in silence, shaped by expectations, by the weight of becoming something you never chose to be.
They call it weakness. They call it over-sensitivity. But they miss how the world moulds us, pressing us into shapes that do not fit. And when you do not fit, the weight of existence becomes unbearable. You fracture, piece by piece until you no longer recognize yourself.
This self-portrait is a marker of that fracture. A moment between breaking and healing, between silence and the need to be heard. Therapy and recovery – none of it is linear. It is a conversation between past and present, between who you were and who you might become. To heal is not to return. It is to move forward without losing yourself again.

We develop solid structures in our lives, something to hold on to. Rooms to protect us; solid rooms to furnish with tables and chairs which help us to feel stable. Despite this, we still search for something else, something to help us feel truly at home. Something which won’t break or go away; a constant. This room exists outside of any reality, and for a moment, everything else is meaningless. The room is immune to all external influence. This is an exploration of openness and intimacy between two people: to be naked despite clothes, and dressed up even when wearing nothing at all. To be aware that nothing is exactly how it used to be. All that matters here are the two human beings present and their story - how she sees him, and how he sees her - although our perspective was shaped by one of them, with the shutter release in her hand. To return to life as an individual, to go your own way and exist just for yourself. No longer to know what the other is thinking. But before this separation, the two sit opposite to each other one last time. One last talk, but some words remain untold - unrealized potential. What has changed; what went wrong? Acceptance through uncertainty. Only the feeling that there used to be something there is left. Any attempt to ignore the accumulated emotions, and pretend for a moment that things are now once more as they used to be, is met with silence. It is not the solution and you know you have to give up. You give it away. And after all, the decision is made: “We are done”.

In German, a white horse is referred to as a “Schimmel”, implying something which is full of mildew or rot. Many white horses become afflicted with equine melanoma and often die from the disease. Initially unnoticed within, the cancer in its final stages of malignance reveals itself in the orifices of the animal. Aesthetic beauty is an amalgamation of subjective values and forms which are pleasing to the senses. The photographs suggest a relationship between death and beauty. When a fetid body is rendered beautiful, wherein lies the repulsiveness? At the center of these photographs, the Schimmel is as a metaphor for quotidian paradox; from the realm of personal affairs to broader considerations of contemporary society and coaxial allegories of mortality.

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