- Born: Meimbressen, Germany, November 1953
- 1971-1981 working as customs officer, forklift- and truckdriver and other jobs in Germany and Ireland
- 1981-1986 studies in philosophy / sociology /communication, Wilhelms University Muenster / Germany
- 1982-2000 boat design and boat building
- 1992-2010 designing and manufacturing of wooden furniture
- 1989- woodcarving
- 2006- virtual art, machinima
- 2008- working in collaboration ( dAbE-art ): land art
- 2018 – working as cabinetmaker in The Netherlands
- 1978-81 exhibitions with paintings and installations Overberg Kolleg / Münster, Germany
- 2008-2010 in collaboration (dABe-art) Fishguard/UK,Public Gallery and Walled Garden/Solva UK, land-art, sculptures
- 2012 Modern Panic III, Apiary Studios, London,UK
- 2013 „Dall’Acqua Nasce L’anima…“, Palazzo Gallio/Gravedona/Lake Como/Italy
- 2013 permanent exhibition on narrowboat „Wånderlust“ at UK’s canals and rivers
- 2015 „Artists On The Canals“ – several group exhibitions in UK:
- Milton Keynes
- Hemel Hampstead
- 2017 „Four Seasons Art Fair“ Amsterdam
About My Work
Max Goldt once said, the artist should not stay in the way of his work. Well, there is always a demand of some words from the creator of art work, so I want to talk about, what makes me work as an artist:
Wood is a common material for artists to express their understanding of the world. But wood is not the easiest material: it is not homogenic, it demands lots of attention and skills and you cannot do copies for increasing the business.
Why do I use wood after all? Besides hard and splintery beechwood? The work is risky and tedious, demands concentration and sensitivity for the material’s structure – thus challenging craftmanship. Together with the subtle texture and unexitedly tint of beechwood that makes it my favourite material. Beechwood allows undisguised view towards the form language. The shiny smooth surface means a distance to „harsh“ nature to me. The outcoming piece is a picture, not a copy. The tactile dimension: There is this invitation to the spectator to touch, to feel the inherent stored warmth of the sun deep inside of the material. The incorporated strings and muscles can be touch and open another dimension to phantasy.
Subject follows function. My abstract – as well as the anthropo- and zoomorphic sculptures emerge from the curiosity what other structures evolution could find – or improve – to add another niche in nature. I mostly work without preceding drawings und start to work unintentionally; the „idea“ evolves during the progress – the work is the result of an undetermined process that is condensed to an aim quite late. titles: „no title“ is so valid how it is boring and often disappointing for the spectator (who anyway is peeking to the labels for a helping hint towards the intention of the artist). My pleasure of spinning a yarn or to attract the audience on wrong trails or into traps let me weave titles that sometimes even might fit.
I am using the traditional tools: saws, mallet and chisels, rasps and fills. Additionally electric drills, – multitools and – sanders are a good help. But the last 40% of the work is smoothing and sanding the surfaces with sandpaper until it gets that certain shine. Here lays another difficulty: the creative, artistic, process is done. Now comes the “boring” work to finish the work. I have tyo go into a kind of meditative state to overcome this time. But the result is worth it.
For questions, requests, commissions and comments please contact me: