My work is built around the tension between control and unpredictability in both process and materials. Through repeated abstract forms and layered surfaces, I’m interested in how viewers project meaning, patterns, and narratives onto ambiguous images. Painting becomes a way of testing systems, accidents, and the traces left behind by time and human activity.

Things that might normally be overlooked fascinate me: marks, patterns, materials and irregularities that reveal something about a building’s use, alteration and history. Four recurring areas have developed from this.

​

Traces

​

Marks left by removed light switches and other fixtures are the starting point for my Field Notes works. These small remnants interest me because they record absence: something has disappeared, but its position remains visible. I isolate and repeat these forms, allowing a minor architectural trace to become a visual language of its own.

​

Structures

​

The window bars at Löwenberg provide the basis for works such as Within Tolerance. Their regular vertical rhythm is interrupted by individual bars that have been bent or displaced. I use this relationship between order and deviation to construct systems in which small disturbances can gradually alter an otherwise controlled structure.

​

Patterns

 

Decorative daisy tiles found in the former bathrooms combine domestic ornament with the institutional history of the building. The daisy carries associations of innocence, childhood, simplicity and renewal. In the context of Löwenberg, a building that has served at different times as a convent, orphanage, school and asylum, these associations become more ambiguous. A seemingly cheerful and harmless decorative motif sits within a history of institutional care, regulation and control.

​

Materials

Hessian, jute, coffee sacks and other coarse textiles connect the work more directly to material, labour and construction. I discovered hessian within the walls at Löwenberg, where it had a functional rather than decorative role. I use these materials as surfaces, structures and carriers of marks, allowing their fibres, seams, imperfections and histories to remain visible.

​

Across all four areas, I am interested in systems and their disruption, repetition and difference, preservation and erasure. Rather than reproducing the building itself, I use its overlooked details as starting points for examining how traces survive, how structures change, and how order accommodates irregularity.

 

 

 

 

​

                                                             Portfolio (EN)