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 III, I wanted to explore the idea of an echo—the way a sound lingers and reshapes itself in space. This piece feels more architectural to me than the others in the series; it is about the structural beauty of a composition as it unfolds.
I approached the paper with two primary gestures. The first is a heavy, grounded arc that holds the weight of the moment, while the second is a lighter, more fractured movement that represents the fading resonance of a note. The deep blues and grays are not just colors; they are frequencies. I’ve placed the fine, script-like marks at the heart of the curve to act as the 'lyrics' of the sound—a visual poetry that mirrors the complexity of a musical phrase. For me, this work is a meditation on the harmony between the intentional strike of the brush and the spontaneous flow of the ink. It is an invitation for the viewer to listen with their eyes, finding a silent music in the rhythm of the lines