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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With Sphere, I wanted to create an object that feels like it was unearthed rather than manufactured. The sphere is the most perfect, closed shape in geometry, but I’ve treated it as something vulnerable to the elements—something that has been weathered, scarred, and reclaimed by time.
I chose white as the primary language for this piece to highlight the play of shadows across the craters and ridges. For me, the dark, tangled structures that wrap around its crown are essential; they represent a form of organic armor or perhaps a growing memory. It is a dialogue between the solid and the fragile. Standing before it, I hope the viewer feels a sense of planetary scale in a domestic space—a silent, frozen celestial body that carries the weight of a world without being tied to any specific place or time. It is a meditation on the permanence of form amidst the chaos of texture