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ARTIST STATEMENT//
My artistic practice explores how meanings and visual politics emerge within the ubiquitous flood of digital images. The focus is on the tension between visibility and invisibility within contemporary visual cultures. In this context, I view my work as an exploration of the dialectic of presence and absence in time-based media. I place particular emphasis on audiovisual material from private social media contexts, which I combine with film and sound fragments to create condensed collages that reveal new connections and layers of meaning.
The starting point is visual material that is constantly changing and becoming increasingly ephemeral through digital circulation. Through displacement, appropriation, and recontextualization, I make the conditions of seeing themselves the subject of my work and open up new spaces for thought and perception.
My practice spans experimental film, painting, and both installation-based and performative approaches. A central principle of my work is the montage of fragments—found and original material, as well as visual, textual, and sound elements—which are brought together to form open, ambiguous constellations. I am less interested in fixing meaning than in generating and shifting it.
In my film work, I explore the intersections between documentary and fictional forms. Found footage from digital image spaces often serves as a starting point, with social media functioning as archives where the private and public spheres overlap. Through appropriation and a shift in context, new interpretations emerge, while the origin of the images remains visible as a trace.
I view montage as a central process through which meaning is generated. In the interplay of image, text, and sound, narratives emerge that elude a clear resolution and instead bring questions to light.
Aesthetically, I work with discontinuities, condensations, and unstable image qualities. I am particularly interested in the tactile quality of amateurish or politically charged images, in which perception oscillates between closeness and distance, familiarity and strangeness. These images form a specific visual memory that gives rise to unique forms of recollection and emotional closeness.
A voice-over commentary composed of text fragments—both my own and AI-generated texts—often accompanies my works. Oscillating between empathy and distance, it uses irony as well as humorous or melancholic disruptions to create disorientations that challenge habitual ways of perceiving.
At the same time, painting constitutes an independent space for thought, in which central questions take on greater intensity under different media conditions. Fragmentation, superimposition, and open pictorial structures characterize the works, as does an immediate, color-intensive approach. While time in film is organized through montage, in painting it condenses within the pictorial space itself.
Overall, I understand my practice as an exploration of open connections in which meaning emerges through selection, composition, and context. Questions of authorship, perception, and decision-making processes also form the foundation of my teaching practice. At the center is how images generate meaning, who shapes them, and how artistic processes can shift structures of perception.
In this sense, my work is also a search for connections, possible narratives, and forms of truth that cannot be unambiguously fixed but exist in productive ambivalence.
Studied communication design in Stuttgart and fine arts/digital media, as well as
film under Constanze Ruhm and Harun Farocki at the Academy of Fine Arts in Vienna.
Nomination for Best Innovative Film at Diagonale Graz 2026, Main Award in the “Cinema in Transgression” category, “Signs of the Night,” Urbino 2025, State Grant for Media Art 2024, Best Innovative Film at Diagonale Graz 2019, Nomination for the Austrian Short Film Award 2019, Baden-Württemberg State Grant for Visual Arts 2018, State Grant for Media Art, Media Art Start-up Grant 2017, Various Work Grants, Federal Chancellery, ORF ARTIST IN RESIDENCE, Birgit Jürgenssen Prize 2014
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