is a sculpture and moving image artist based in Leipzig, Germany. ... His practice is a drilling for the historic sediment of present-day society. By means of an archaeological search for trace, memory and sediments within our collective and his personal past we become aware of underlying structures and conditions of today's capitalist realm. Using essayistic, multimedia bodies of work, interventions into existing structures or playful approaches to material and sculptural form he tries to create fissures and fractures. He studied in Alba d'Urbano's class for Intermedia Art at the Academy of Visual Arts, Leipzig. Portfolio on request.
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that sugar cane Exzerpt der Bildunterschrift

Flug Z0702 von New York nach Berlin, tausende von Meilen über dem Atlantik. Unter mir, im Bauch des Flugzeugs liegen in meinem grauen Rollkoffer, säuberlich in eine ZipLoc eingelegt, zig dutzend Packungen Zucker und Sweetener in bunten Farben. Gotta love that Louisiana cane sweetened ice tea from Popeyes. Ich hatte Sie eingesteckt, in den Dinern, Delis, bei Taco Bell, bei Popeyes. Ich sehe aus dem Fenster, die Wolkendecke unter mir zieht Schlieren. Auf meinem Schoß liegt CLR James The Black Jacobins. Gleich auf den ersten Seiten schreibt James davon, wie entschiedend Europas Verlangen nach Zucker für die Etablierung des Atlantic Trades, für die Institutionalisierung des todbringenden Raubbaus an einem ganzen Kontinent und deren Körpern war. Louisiana galt als der nördlichste Punkt der Americas an dem sich ein rentabler Zuckeranbau noch lohnte fällt mir da ein, ich hatte es zuletzt irgendwo gehört.

„Chicken or Pasta“ dringt es plötzlich in mein Ohr. Der Steward steht rechts neben mir und sieht mich fragend an. Ich winke ab, bestelle Cola. Meine Gedanken kehren zurück zu den bunten Zuckerpackungen, die jetzt ihren Weg über den Atlantik machen. Wegen Ihren bunten Farben hatte ich sie eingepackt. Blau. Grün. Rosa. 7eleven.

digital print, Leipzig, 2025

across the sea Packaging boxes for US products, which I collected from supermarkets on US military bases in Germany, gleaming with a mirror-like sheen of spar varnish. Cicadas chirp silently from inside those cardboard boxes. The objects speak not only of a globally connected world and a crossing of the Atlantic Ocean, but also of attempts to give a sense of home to U.S. soldiers in Germany.

As a child, I was drawn to the bright colors of those products; they must have seemed much more vivid than the apparent dullness of the newly reunified Federal Republic of Germany. Their entanglement with the military-industrial complex obscures the promise these memory hold, making them bearers of history.

cardboard boxes, spar varnish, Columbus, OH, 2023

i think I was blind before I saw you The installation "I think I was blind before I saw you" is based on the memory of the house of my grandparents deep in the woods of West Virginia. Blurred and warm, but obscured at the same time. An attempt to recreate in fragment, a replica, in fragment, disintegrating, looking for traces. As a child I always wanted to see the Cardinal bird, whose bright red color only occurs in the northern climes of the Americas.

Wooden slats, found object (porcelain), Chemnitz, 2024

Apachen über Ansbach The cinematic essay ‚Apachen über Ansbach‘ deals with a specific aspect of US-American (and German) history, the American barracks on German soil - a search for traces along the autobiographical and the remembered.

Katterbach near Ansbach in Bavaria. Behind sandbags and all that barbed wire lies a place where American soldiers and their families are supposed to feel a sense of home. Burger King, pickup trucks, Movie Theater. Elements of American interior design and architecture scarcely cover up structures built by the German Nazi Party–like a shell, hastily erected utilitarian architecture is placed over existing structures. „Little America“ right in the heart of Germany. For most soldiers, this is just a stopover on their way to Lithuania, Poland, Afghanistan or Iraq. A place of transit, a quasi-simulation of the country they had just left behind to fight wars far from home.

I have known these barracks since I was a child, as they were both my father‘s place of arrival in Germany and his place of work. But where does the appeal these places have on me originate from? With a camera cautiously inching its way forward, I set out in search for answers, placing my voiceover over captured images, confronting memories and promises buried deep in my childhood, promises enraptured in things so different from my usual surrounding–brighter, more exciting. A juxtaposition of a memory gone by with the reality found in these places today. A drilling for the historical sediment of these places, an uncovering of layers, an archaeology in the sediments of my and our collective past.

please ask for link to film, will gladly share <3

Essay film, 33min, Leipzig, 2021

Solid Benders Mankind’s desire to fly is almost as old as our history itself. This history begins with the detachment of the subject from nature, with the assimilation of nature, and culminates in the surveying and mapping of our world during the era of Enlightenment. The desire to classify, to give a name to everything, to categorize, and finally make everything available to the needs of human mankind, has ultimately distorted our belonging to and embeddedness into that which surrounds us. The ‚solid benders‘, however, lay down like cuddly beings where they should actually take off, become lazy, and thus explore a new relationship between man, nature and technology.

Exhibited at Suzie Shride in May 2023

Cheese-wax, wood, styrofoam, wooden threstle, size variabel, Leipzig 2021

linie 91 GVZ Nord, again and again – Die Schicht hat 8 Stunden – the masterpieces The body of works deals with the conditions of labor and environments in which they take place. The ‚drilldrawings‘ form the heart of the installation. Eight drawings created during an 8-hour work shift in my studio, carried out using my battery-powered power drill MAKITA DHP 453.

A yellow highlighter inserted into the machine’s drill feed, I’m driving the rotating felt-tip pen over bright white paper until it is exhausted. Video, text and photographs are clustered around these drawings, the display oscillates between architecture, sculpture, and ‚prob‘. Concrete gray, corrugated sheet metal. Repetition and dull routine within the realm of a highly fragmented workforce, photographs of empty break rooms.

8 drill–drawings (highlighter on Flipchart-paper, 680x990mm), videoloop, photographies, text, steel, conjugated sheet metal, lamp, size variable, Leipzig, 2020–23

leave it all behind Fireworks are being placed into situations that do not correspond with their intended purpose. Obstructed in their trajectory, prevented from taking off, forced to go underground, they are allowed to burst right before our eyes.

"leave it all behind" is one of a group of video loops that uses fireworks to undermine the idea of everything having to serve a purpose, challenges expectations and the frozen-like and static realm of everyday "capitalist realism" (Marc Fisher)

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videoloop, Leipzig 2017