I am fascinated by acrylic painting, and I like to combine it with unusual textures and materials from nature, e.g., wood, rust (rust fascinates me because of its extraordinary coloring and transience), stones, and special papers. I paint on canvases, metal plates, fine papers, palettes, cardboard, and all kinds of wood. I am inspired by old factories, abandoned houses, lost places, construction sites, and everything related to textures. For me, textures shape our lives, and I try to capture this diversity in my work.
The touch, the scent, the atmosphere of my working materials take me on a journey; each piece has its own story, and form e each piece is a feeling, with the color white as a forefront in my artworks.
Freelance artist since 2007
Working as an art instructor since 2017
Art therapist in psycho-oncology since 2017 at the Mildred Scheel Academy in Cologne
Since 2020, collaborator and volunteer at the Women's Museum in Bonn
Since 2023, a studio practitioner at the Women's Museum in Bonn
Since 2025, board member at the Women's Museum in Bonn
Exhibitions/Projects
Mail Art Project 'Against War' by Reiner Langer, Worldwide Peace Project; Beuys Mail Art Project by NEANDERART group; 2022 and 2023 'ARTBOX.Project Zurich; Illustration' AbraPalabra Book/Children's workshop at the Women's Museum; Founding member of the group 'Sometimes Black, Sometimes White, Sometimes Photo'; galerie Claudia Seider Bochum; Boredom in Paradise Women's Museum Bonn; Flinta Women's Museum Bonn; 26th and 27th Art Fair Women's Museum Bonn; Installation in memory of the book burning 1933; painting and photography in Dialogue Düsseldorf; motives Women's Museum Bonn; Heroines/Sheros Women's Museum Bonn; 'White Emotion' in the MB collection in Bonn; Art meets History' Castle Sinzig; Women.Power.Change museum Viernheim; 'Stations of my Art', an electoral gardening cabin.
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In My Round World I, I wanted to hold the entire earth in a single, circular frame. The tondo format is very special to me—it removes the corners and the edges that usually dictate where a landscape begins and ends, making the viewer feel as if they are looking through a portal at something much larger than themselves.
I chose the metal board as a cold, unyielding foundation to contrast with the living, changing nature of the structure paste. As I worked the surface, I was thinking about the transition from the void to the solid. I left the top portion smooth and silent, like an untouched sky, while the bottom becomes a chaotic, fractured record of movement. Those deep, dark cracks are where I feel the life of the piece resides; they are the scars of time. For me, this work is about the delicate balance of our existence—it is a fragment of a world that is at once solid and enduring, yet visibly cracking and fragile. It is an invitation to look at our environment not as something we stand on, but as a living body that breathes, breaks, and slowly evolves