Since 1990, involvement in the Women's Museum, Department of Internal Communication, lecturer/artist consulting, juror, and curator. Since 1991, serving on the board.1991-1992, studied Chinese calligraphy with Chin-Fa Cheng at the Museum of East Asian Art, Cologne.
Works held in public and private collections.
Art Academy Genk Belgium; 3rd Biennale de la Peinture; Daint Léonard de Noblat France; Ceres Gallery, New York, USA; Kunsthaus, Erfurt; Municipal Gallery, Cologne; Säulenhalle; Gallery L, Moscow; Municipal Sculpture Museum, St. Petersburg; Barbur Gallery, Oxford, Israel; Museo delle Donne, Merano, Italy; Galerie drei, Dresden; Blue Roof Museum of Chengdu, China; Mittelrhein-Museum, Koblenz; Art association Rosenheim/Neubeuern.
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In Klangfärbung II, I wanted to dive deeper into the physical tension of a musical composition. While the first piece in this series felt like a single, unfurling note, this work explores the friction and the 'strike' of a sound. I chose this deep, vibrant blue to slice through the black ink, representing a sudden shift in timbre—the way a bright brass instrument might break through a lower orchestral hum.
The broad, looping gesture in the center is an act of release; I wanted to capture the momentum of the hand as it follows the arc of a melody. Below this, I’ve introduced fine, structured lines that act as a visual metronome, grounding the chaotic energy of the main stroke. For me, this piece is about the duality of music: the rigorous structure of the composition versus the wild, unpredictable emotion of the performance. I hope the viewer can feel the air moving within these strokes, seeing the paper not just as a surface, but as a space where a silent symphony is still playing