What Remains — Fragments One to Five,

    Burned wood, asphalt lacquer

    164 × 164 × 20 cm

    Untitled (ϟ),

    Oak branch, asphalt lacquer

    260 × 50 × 50 cm

    • An art installation in a gallery space featuring blackened wooden squares arranged in different formations. A tall, stacked tower of squares stands in the center, while other pieces are placed on the floor and within a metal frame. A blurred figure moves behind the tower, adding a sense of motion.
    • Tall vertical sculpture made of stacked, burned wooden beams forming a grid-like tower gapped by black acrylic panes in a gallery space.
    • Perspective view of nested, charred wooden frames arranged in a semicircular formation on a white marble base.
    • Charred wooden square frame suspended on a white wall using leather straps and thin transparent cords.
    • A close-up of a sculpture featuring a sequence of blackened wooden frames arranged in a curved formation. The charred surfaces display cracked textures, and the frames are supported by a white marble base, contrasting with the dark wood. The sculpure is set on a wooden parquet floor.

    Ephemeral,

    Burned wood and mixed material constructions

    Frames: 52 × 49 × 4,8 cm, constructions variable

    • Angled view of a large rectangular sculptural wall in an L-shape made of vertical wooden slats, painted grey on the front, white on one side and black on the ither. The interleaved structure reveals glimpses of the interior through the narrow gaps. The longer part is prominently supported neear the corner by a red wooden wedge.
    • Rear view of the sculptural wall showing vertical wooden slats with alternating black and white side surfaces. The perspective emphasizes the shift in visual density depending on the viewing angle.
    • Side view of the installation with evenly spaced wooden slats creating a striped visual effect. The black and white sides of the slats produce a dynamic, optical contrast. The longer part is prominently supported near the corner by a red wooden wedge.

    Exhibition Wall (study),

    Interleaved wooden slats, wooden wedge, chalk paint

    250 × 450 × 150 cm

    Nevermind,

    Carved oak, linseed oil paint

    6 panels 10 × 84/112 × 56 cm, installation 10 × 150 × 365 cm (variable)

    • A white wooden chair stands alone in front of a white wall. A vertical block of white marble is inserted through the seat and extends upwards, partially obstructing the chair’s backrest. A smaller wooden wedge supports the marble block, creating a contrast between the materials.
    • A white wooden chair stands alone in a minimalistic gallery space with a large window in the background. A vertical block of white marble is inserted through the seat and extends upwards, partially obstructing the chair’s backrest. A smaller wooden wedge supports the marble block, creating a contrast between the materials.
    • A white wooden chair stands alone in a minimalistic gallery space with a large window in the background. A vertical block of white marble is inserted through the seat and extends upwards, partially obstructing the chair’s backrest. A smaller wooden wedge supports the marble block, creating a contrast between the materials.
    • A white wooden chair stands alone in a minimalistic gallery space with a large window in the background. A vertical block of white marble is inserted through the seat and extends upwards, partially obstructing the chair’s backrest. A smaller wooden wedge supports the marble block, creating a contrast between the materials.
    • Close-up of a white chair sculpture with a square hole in the seat, through which a white marble block extends. A small wooden wedge is placed at the base of the block, contrasting the smooth surfaces of the chair and marble.

    Rockin' Chair,

    Ready-made chair, carrara marble, wooden wedge

    119 × 47 × 42 cm

    • Close-up of a postcard stand displaying various artworks, including surreal and abstract depictions of figures embracing stones. A thin cardboard box the size of a postcard with an opening at the top is placed in the stand and shows an illustration of three coins and lists prices: 1 postcard for 2€, 3 for 5€, and 31 for 50€. A blurred hand is reaching for the box.
    • People interacting with a rotating postcard stand in an art exhibition. The stand holds various illustrated and photographic postcards, including images of figures embracing stones. A sign at the top reads 'A man hugging a stone.'
    • Close-up of a postcard stand displaying various artworks, including surreal and abstract depictions of figures embracing stones. A sign in the stand shows a QR-code labeled 'PayPal' and lists prices: 1 postcard for 2€, 3 for 5€, and 31 for 50€.
    • Closeup of a person's hand examining the back side of a postcard. The Postcard stand is visible and cut-off to the right. Another person is visible in the background reaching for the stand.
    • Close-up of a postcard stand displaying various artworks, including surreal and abstract depictions of figures embracing stones. A thin cardboard box the size of a postcard with an opening at the top is placed in the stand and shows an illustration of three coins and lists prices: 1 postcard for 2€, 3 for 5€, and 31 for 50€. Handwritten red text reads 'Hol dir das Set' ('Get the set!') with an arrow pointing toward the 31 postcards item.

    A man hugging a stone, , in collaboration with Nele Dorn

    Ready-made postcard rack, 31 postcard motives, DALL·E 2

    180 × 35 cm, postcards DIN A6