Installation view of both vitrines at U-Bahnhof Eisenacher Straße
Kindertraum von der Apokalypse I installation view
Kindertraum von der Apokalypse I (child’s dream of the apocalypse I)
2026
Oil on canvas
150 x 190 cm
Kindertraum von der Apokalypse II installation view
Kindertraum von der Apokalypse II (child’s dream of the apocalypse II)
2026
Oil on canvas
150 x 190 cm
Installation detail of Kindertraum von der Apokalypse II

Kindertraum von der Apokalypse I + II (child's dream of the apocalypse i + ii), 2026site-specific installation including two oil paintings, each 150 x 190 cm

Two paintings were produced for two display cases in the Eisenacher Strasse Subway station as an architectural intervention. Multicolored brick walls that were inspired by the subway environments of Rainer G. Rümmler’s U7 stations were painted onto flat cityscape scenes and void of figures. As the horizontal narrative of the cityscape continued from one vitrine to the next, objects became less detailed and more abstracted into flattened color fields.

Love ju til i dei installed at After the Butcher

Love ju til i dei (2026)Musik: E. Wood
HD-Video, 3:29 min, 4:3

Made to have no beginning or end, a few seconds of footage was slowed down to several minutes and played on repeat indefinitely.

The video is accompanied by Elisabeth Wood's rearrangement of a Baccara song, with vocals by J.R. Blank and Elisabeth Wood. Through repetition, the song becomes an endless refrain:

I’ve never known a love to last

I’ve seen a lot of loves go past

I don’t know how but I know why

I’m gonna love you til I die.

I don’t know how but I know why

I’m gonna love you til I die.

Untitled (study Gelati Nico), 2023
Oil and charcoal on canvas
110 × 100 cm
Untitled (prelude), 2023
Oil and ink on canvas
170 × 130 cm
Untitled (Ponte di Rialto la Biennale), 2023
Oil and charcoal on canvas
110 × 100 cm
Nocturne red bench pink light, 2023
Oil and charcoal on canvas
40 × 40 cm
Skifahrerin im Frühling, 2023
Oil, ink and wine on canvas
130 × 100 cm
Straßenbau in Grün, 2023
Oil, ink and wine on canvas
110 × 100 cm
Wellness Studie, 2023
Ink, oil, acrylic and wine on canvas
110 × 100 cm
Sound work

The series of large-format, narrative paintings began with a trip to Venice months before the Biennale Arte opened and ended in Eck Museum Bruneck with three, site-specific paintings that were made while sleeping inside the museum over the course of one week. The works were shown as part of the performance Desperation. Glasses of wine were thrown throughout the exhibition space while an audio work played, based on a Soviet-era broadcast, but with the historical context and proper names removed.

New Underground Leather exhibition exterior
New Underground Leather installation view
New Underground Leather hanging work
New Underground Leather installation view
New Underground Leather installation detail
New Underground Leather detail
New Underground Leather framed work
New Underground Leather framed work
New Underground Leather installation view
New Underground Leather work detail
New Underground Leather installation view

New Underground Leather, 2016site-specific installation including pigment prints on paper, resin, cock ring, bird feathers, chain, dried corn, amber color gels, plywood.

Liszt was an exhibition space run by Lukas Quietzsch and Philipp Simon, where they built a makeshift white cube inside a former butcher shop. In my edition for the space, I wanted to treat it like a stage, where I wrapped the existing neon lights with amber-coloured gels, covered the street-facing window with wooden slats, and cut a hole in one of the dry walls. Photographs of three very different families and partnerships were on display within the makeshift dollhouse, accompanied by a sculpture and an audio work of an arrangement of Moon River which was then remixed by Aerea Negrot and again by Elizaveta Fedorova. The opening included a performance by underground drag superstar T-Word.

Beloved performance documentation, 2011 Beloved performance documentation, 2011 Beloved performance documentation, 2011 Beloved performance documentation, 2011 Beloved performance documentation, 2011 Beloved performance documentation, 2011 Beloved performance documentation, 2011 Beloved performance documentation, 2011 Beloved performance documentation, 2011

Beloved, 2011performance documentation
former Turmcenter am Alexanderplatz
etchings on paper, plaster bust, makeshift holograms with custom pedestal and plinth, plexiglass, black light, glass eye

German identity card security symbols were animated as pedestal holograms, which two models wearing German worker uniforms assembled and disassembled awkwardly. For much of the performance, the two models did very little at all but stand around, after which they each posed with intricate etchings of altered film production company logos and a bust of Nefertiti, later installing them in the gallery space, then taking them down again.

European Images, 2011Performance Documentation
KW Museum for Contemporary Art
makeshift holograms with custom pedestal and plinth, plexiglass

Insignia such as army tattoos, an immortal jellyfish in Italian captivity, and an art historical bust of Nefertiti were hologrammed and accompanied by a nine-person choir. The performance included a musical score by Albert McCloud.

coming soon