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My abstract-figurative PAINTING not only results from current personal events and processes and therefore reflects on my inner self in the context of a certain situation. Painting gives me the opportunity to make use of whatever conclusion obtained by reading the creation; be the work still emerging or already completed. Hence, using brushes and paints intuitively, means diving into a great unknown with a powerful torch and thereby shedding light on the unconscious or not yet processed. This may then allow knowledge applicable to ordinary life to be originated. Understood as a reflective activity of knowledge-production, I do not consider my painting as much as scientific as I consider it therapeutic. What once was submitted consolation by creating random illustrations, develops into a more elaborate form of apparent storytelling, distinguished by inconclusive visualizations of percepts, principles or concepts in the course of time.


In my practice SCULPTING means responding to material culture in general and particularly to junk; to wasted potential in the context of a disposable society. Thereby, the act of producing assemblages with other peoples’ scrap is less questioning societal norms than simply practical; in a sense of low cost and high inspiration. The term sculpting comprises variant ways of producing a wide range of artifacts. Therefore, artifacts could be rated as statues as well as furnishing or fashion. So, for the lack of a better word, sculpting conflates an ambiguous sum of crafts and resulting objects. Although broadly indefinite at first, when sculpting, by recycling yet existing items, I hardly ever work aimless. My objects are in almost every occasion meant to be used for a special purpose or event and for this very reason tangle a clear distinction of art and design. 


My approach of creating a whole by INSTALLING a sum of single elements is linked to sculpting or the production of objects. The first is differing from the latter in an increased use of space and material on one hand and often a decreased lifespan on the other. In addition, sculptures as well as more functional items made in advance are used alongside other material as elements of installations; often multiply on various occasions. These attrition warfares only exist in connection with social space, where their main task is the creation of an atmosphere respectively the visualization of certain themes. My installations never take the center of attention but rather form more of a frame for other human activities to take place in. Rooting in plain decoration my installative work continually approximates artsy interior design or land art. My installations therefore resemble sceneries; sceneries not for theatre but real life.


Common ground of my performative practices is their somehow semi-real character: Partially, PERFORMING activities seem closer to real life than acting, for another part the opposite is the case - one form can be blending into the other. Real life performative activity may involve painting or conducting other artistic practices on public display; situations that could be described as ethnological exposition of the artist. Other forms of performance contain embodiment of characters, be that living elements to support installative works, be that roles in motion picture productions or be that alter-egos for various causes. Some performances are planned, others occur spontaneously, some on purpose, others happen by accident.

gschlierg in progress.jpg

Choosing between working solitary and COLLABORATING, I generally pick the second, for I consider shared artistic activities as valuable encounters in the sense of unique forms of exchange between people, ideas and material. Hereby originating dynamics are as unpredictable as challenging and most likely energize transformations, by playfully questioning similarities, differences, opportunities and limits of all the elements involved. Some of my collaborations must be understood as ongoing relationships, some of whom lead to the formation of stable collectives, others occur as onetime gatherings. All variants have specific qualities and weaknesses. In any regard, I consider the most inspiring approach to collaboration, initiating participatory enterprises, as it allows a great number of different practices to communicate with and learn from each other: design thinking centered in artistic practice. Once diversity is not seen as problem but potential, the lesser the direction needed, the more interesting the project in question to me.

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