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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 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, expanding the horizon of my expectations and of my own 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 for some experiences to the tiny tropical Island Reunion. I still am 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 home is my art, it is always a new, a surprising place, that makes me loose grip, a place where I can feel free and rooted.
As a teenager I slowly became aware that the need to built the world was a metaphysical and universal one, 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 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 'tell the truth", that by purely imagining a piece of art one could catch a substantial part of the reality itself?
To defend that idea, I had to investigate the concept of truth itself or rather different concepts of truth and of reality.
And if, as it seemed to me at ounce, I was right to conclude that the experience of reality transcends pure rational knowledge and that alI perception involves imagination, then ... I had at last, in my search for the truth, to start creating art!
Based on the Platonic tradition that art is a representation of an idea, my work was, in my beginnings, suppose to be an image of my inner world, my feelings and the world as I felt it in my inner self. 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 philosophical experiments in the social 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 can be to enhance its own 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 mission to perceive the world. What a wonderful and appeasing thing to do...
In this meditative approach 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.
interview in the first edition of the monthly Mozaik