some infos about me

and the backgroud of my work

My home is my art

born as a daughter of two foreign correspondents, I had to get used from my early childhood on to move every few years from one country to the next.

While I felt uprooted again and again, I became more and more aware that it was mandatory for me to build and design the world according to my needs, and that it was a immense opportunity to learn from the culture I lived in, from its understanding of beauty and tradition, expanding the horizon of my expectations and also of my own needs and capacities.

The curiosity for foreign cultures stayed with me through all my life, and I spent months and years travelling on all the continents. I lived and worked as an adult in several german cities, around 6 years in Moscow, then a long time in Vienna and later 3 years in Paris, before moving to the tiny tropical Island Reunion in quest of light, peace and the serenity of nature. Trips to Madagascar and the surrounding Islands have been immensily inspiring. And I am still feeling the most intense freedom and appeasement when I am in places I could barely locate on a map, where all my benchmarks have become obsolete.

My art is a reflection of that experience, my art is my home. It is always a new, a surprising place, that makes me loose grip, a place where I can feel free and rooted.

Philosophy

As a teenager I slowly became aware that the necessity to built the world was linked to our human understanding and hence universal, I decided to study philosophy at the LMU Munich, studies that led to a PhD thesis in 1991.

While I was starting to take part in first group exhibitions with abstract paintings, it was essential for me in the same time to understand how making art could be a conscious and holistic experience of the world as it is. How could one defend the idea that any piece of art could potentially "tell the truth", that by purely imagining a piece of art one could catch a substantial part of the reality itself?

To define a valuable candidate for that concept of truth, I had to investigate our different traditional ways to understand reality and knowledge, and to broaden it so that it could integrate art as a tool to access to reality.

In the end I came to the conclusion, that if the experience of reality would transcend pure rational knowledge and if alI perception would involve sensation and imagination, then ... I had at last, in my search for the truth, to start creating art!

In the beginnings my work was, still based on the Platonic tradition that art had to represent something, supposed to be in a way an image of the world as I felt it to be. In Moscow (1991 - 1998) I worked on expressionistic abstract oil paintings.

Later, while I stayed in Vienna, I produced and exhibited conceptual paintings, installations and objects, and I also made some artistic interventions in the urban life. I wanted my art to be an image of certain range of social and intellectual questions that haunted me.

From 2015 on, I started to deal with the non-dual experience of art

as a subject by itself. Working on a paper about Kasemir Malevich, who had claimed to have created the icon of modern times in painting the black square on a white surface, I realized that the content of art could simply be its own capacity to enhance an aesthetical experience.

In a totally different, non Platonic tradition, art does not intend to tell a story, not even the story that it is not telling one. It would guide you into an aesthetic experience, in which your mind fully enjoys its playful but ultimately necessary mission to perceive the world. What a wonderful and self sufficient thing to do...

The holes in my paintings are laid out carefully in the midst of the limited painted surface, as rocks and stones in a Japanese zen garden (I also recently discovered John Cages work "stones" on that subject) and the painted area as the crushed gravel that has been raked into patterns.