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 Timeless II, I wanted to explore the idea of the 'grid' not as a perfect mathematical concept, but as a living, aging structure. While the first piece in this series felt more fluid and geological, this work is an exercise in containment and contrast. I wanted to see how different textures—the smooth, the scarred, and the granular—could live side-by-side within a rigid frame.
I chose the metal board because it doesn't yield; it forces the structure paste to define the character of the space. As I sculpted each quadrant, I was thinking about the city—the way a smooth concrete wall meets a rough, crumbling corner. The colors are intentionally muted to allow the light to do the work, catching the deep craters in the white section while sliding over the smoky grays of the upper left. For me, this piece is about the harmony found in diversity. It is a quiet meditation on how separate, contrasting elements can come together to form a single, balanced whole that feels as though it has always existed