shortfilm: liveliness, 2021
selection of artworks, 2019 - 2021:
Play of form, 2021
(workgroup: illusion and is-ness)
stainless steel, leather
on gesso and plywood,
in wooden frame
111,5 x 91,5 x 4 cm
in private collection, Germany
Rêve de la forme, 2020
(workgroup: illusion and is-ness)
stainless steel, leather
on gesso and plywood,
in wooden frame
108 x 69 x 4 cm
in private collection, Germany
Formconstruct, 2020
(workgroup: illusion and is-ness)
stainless steel, leather
on gesso and plywood,
in wooden frame
123 x 89 x 4 cm
Rio, 2019
(workgroup: illusion and is-ness)
stainless steel, leather
on gesso and plywood,
in wooden frame
60 x 46 x 3 cm
in private collection, Germany
Joy, 2019
(workgroup: illusion and is-ness)
stainless steel, leather
on gesso and plywood,
in wooden frame
59 x 44 x 3 cm
Split and yet one, 2020
(workgroup: illusion and isness)
stainless steel, leather
on gesso and plywood,
in wooden frame
99 x 89 x 4 cm
view into the artist's studio located in copacabana, rio de janeiro:
background of the artist:
selected parts out of the artist's biography
1985 born in South of Germany in the country side, as the fourth of five children
1993 construction of a school satchel out of wood. she discovers the ability to build and create whatever she needs with her own hands and imagination.
1997 starts to practice the cello and is making fast progress.
1998 gets her own Italian cello. her grandfather was a violin builder.
1999 first travel outside of Europe: Japan. with her father, a potter, who specializes in wood firing in an Anagama kiln. they visit various pottery workshops, which has a strong influence on her. she loves to observe all the different things in ordinary life, like the Japanese breakfast, the furniture, the tools, the clothes, the beautiful ceramic everywhere. it is all very new to her and she feels freshness and a deep fascination for Japan and its aesthetics, its contrasts and beauty of simplicity.
2000 enters the string orchestra. she cannot name the notes, but play them perfectly.
2001 second travel to Japan. this time she lives with a Japanese family for a week while her father participates in a ceramic festival. this is a very unique experience for her. she sleeps in a little Japanese room with a tatami floor and a futon. to this day she is deeply touched by this space and remembers the beauty of calmness and clarity. she goes to school with her host sister, where everyone stands around her and wants to touch her natural blonde hair. Japan is a lifelong inspiration for her. she notes that the Japanese have a sensitivity and sense of beauty that only Japanese have. that fascinates her.
2000 stays in Nice for several weeks to improve her French. she feels very attracted to this city. at this point, she had never heard of Yves Klein. she feels a strong love and attraction for Southern Europe, its colors, shapes, landscapes, architecture and atmospheres. she dreams of living somewhere where palm trees grow and where the sea is close.
2003 visits New York for the first time and is inspired by its vibrant energy and originality. to this day, she has never returned there, although she wants to.
2003 first travel to Brazil. she said she followed the colors that appeared very vivid in her imagination. she falls in love with the Portuguese language. one day while walking through the streets in Rio de Janeiro, out of the blue she gets the impulse that she has to go to Lisbon. it hits her like a bolt of lightning and she is confused about it because she has no connection to Portugal at all at that time.
2004 moves to Berlin, learns to tailor and practices capoeira
2004 travels to Lisbon and decides spontaneously to stay for ten months to learn Portuguese and understand the Portuguese people. the atmosphere of the South is very stimulating and inspiring for her. several paintings and drawings are created. in the following years, she returns to Lisbon several times.
2005 first of several subsequent travel to the Sahara, Tunisia. with her mother, soon to work with local Bedouins. she is inspired by the soft hues, the faded colors, the strong and clear light and its shadows, the architectural forms, the sound of the Arabic language and the silent and purity of the desert.
2007 moves to Stuttgart, meets the painter couple Heidi Foerster and Detlef Freudig for the first time and begins a unique friendship with them. they have an important influence on her and constantly encourage her to keep painting and creating. Heidi Foerster is the sister of her grandmother, who was also a painter.
2008 her beloved grandmother dies while she is taking the entrance exam for the KHB Weissensee Art Academy in Berlin. she passes the exam to study Textile and Surface Design for the next four years.
2008 her first visit to Art Basel, where she sees a painting by Yves Klein and Basquiat for the first time. the two artists have a great influence on her for several following years.
2008 works for several weeks as an assistant for Detlef Freudig in the South of France near Avignon. there she learns the importance of a framework.
2008 hears about the Bauhaus for the first time and is immediately impressed and fascinated.
2009 she is taught by the Japanese visiting professor Massayo Ave, which has a great influence on her and her further aesthetic approach. her main focus is on sensory perception, especially the sense of touch. this remains her main focus for the following years.
2009 she paints several blue canvases influenced by Yves Klein and later cuts them to make a backpack. she calls it: the wearable painting. she begins the
working group 'Wearable Paintings', which she further develops during her studies with great appreciation and interest from her environment.
2009 learns bookbinding and discovers a special interest in it. since then she makes her own books and documents her work and processes.
2009 begins a correspondence with Heidi Foerster and Detlef Freudig, which she maintains to this day. letters from artist to artist.
2010 studies for one semester at the Belas Artes Art Academy in Lisbon and comes into contact with the technique of 'azulejos'.
2011 second travel to Northeast of Brazil. she discovers a great interest in Brazilian modern architecture.
2011 destroys several paintings, created in Berlin, what she regrets today. she has a very difficult relationship with Berlin and describes her student days as a struggle in which she constantly feels out of place. she mainly suffers from writing and creating concepts. she cannot understand why she has to explain what she is creating. she sees no point in it. for her, creation is something natural, expressed through her hands rather than her mind.
2012 third travel to Northeast of Brazil. the floor tiles with the Copacabana pattern catch her attention and she starts to develop a new idea for an elegant floor with this pattern. she is fascinated by the work of the Brazilian landscape artist Burle Marx.
2012 realization of 'Copacabana Floor', her first large-scale artwork influenced by Brazil and Japan. the materials are oak, pine, concrete, leather, steel and ceramic. she develops a unique and very elaborate technique to make the wooden tiles. one day, while working on the floor pieces, she feels a strong impulse in her heart to go to Rio. it hits her like a bolt of lightning and she knows immediately that the time is ripe.
2013 graduates successfully from the KHB Weissensee Art Academy with the project 'Copacabana Floor'. she decides to move to Rio de Janeiro to set up her studio and devote herself mainly to her artistic work and inner calling.
2014 lives in Rio de Janeiro and temporarily in São Paulo and is working on her second large-scale artwork inspired by the Ipanema pattern. this is her first commission for a boutique hotel in Rio de Janeiro. she shares a studio with two Argentinian artists. in São Paulo, she develops the concrete cubes. São Paulo reminds her of Japan and she feels very comfortable and inspired in this metropolis. her main focus is on the material concrete and steel, which she finds refreshing for the tropical environment.
2014 her brother buys her final exam work, the Copacabana Floor, for his private house in Maastricht, the Netherlands. she installs it by herself. before returning to Rio, she reads André Heller's biography and is fascinated by his originality and courage. she keeps this in her back of her mind.
2014 she is building a small experimental space of 15 square meters under her shared studio in Rio to try out the floor and wall tiles and tactile surfaces she has been created so far. she uses this space to gain experience and express herself completely freely. she learns a lot about construction workers in Brazil and describes it as a very important lesson to understand and learn to deal with Brazilian culture.
2015 meets the Brazilian architect Marcio Kogan, who was a great inspiration for her as an art student in Berlin. he loves her concrete cubes.
2015 feels the need of a different environment to take her work to another level. the following two years are very challenging and confusing, both personally and professionally, and she finds herself in an in-between space with no real studio. she knows she needs a big change to move on.
2016 her first participation in an art and design fair in Rio de Janeiro. she is showing her artwork in public for the first time. she decided to apply for design, because she does not have a gallery and therefore cannot participate in the art sector. many visitors thought she was a gallery and in the wrong sector. she felt very out of place. while creating three experimental tables for the fair she feels strongly that she has difficulties and does not enjoy designing furniture. nevertheless, she faces this challenge and experience because she thinks she has to go through this in order to return to her inner calling with more maturity and clarity.
2016 several paintings are created, including the series 'concrete paintings'.
2017 makes a small private exhibition in her apartment where she shows a selection of the 'concrete paintings' and invites a few people.
2017 finally she moves back to Copacabana, which has been her goal from the beginning, and for the first time she has her own small studio, where she still creates with much joy and focus. clarity and calmness come in, everything slowly puts itself back in order. having currently very little financial resources, she discovers an interest in the material gesso (plaster) and develops a special finish. her first white gesso cube paintings are created.
2017 she is asked to develop a new fiberglas finish for the famous Fasanello chairs for '50 years of Atelier Ricardo Fasanello'. she invents the sand finish. the collection is exhibited in Miami during ArtBasel/ ArtMiami. in this collaboration, she realizes that she prefers to work for herself rather than with others and decides to focus mainly on that. she also realizes that she has to make a clear choice between continuing to mix with design and feeling uncomfortable with it or just focusing on making art, which is her inner calling, but it seems like she is trying to hide from it.
2017 destroys several artworks created in the last two years, to be able to move on. perhaps she copied that from her father, when she kept watching him smash several pots from time to time to make room for new ones.
2018 turning point year. she calls it the important year with clear decisions that would change everything, both on a personal and professional level. she begins with a new work phase that has been slumbering and maturing inside her for a long time. only now is she able to realize it and in the following month she discovers her style. she uses the materials gesso, leather and various metals and employs her own technique, which is a further development of her previous approach. the first emerging works belong to the workgroup 'illusions'.
2018 her third and last participation at an art and design fair in São Paulo. she decides to show only pictures, which is an expression of her decision on what she is going to focus on: art. during the fair she has an important realization, which will have a great influence on the following years.
2019 comes into contact with the works of Victor Vasarely, which strongly influence her development. she creates her first compositions, pictures with frames and teaches herself how to build frames with different angles. during the year she concentrates more and more on stainless steel and consciously brings the mirror into the composition, which brings the viewer into the picture and reflects what is at the moment. she develops the technique of grinding on stainless steel and uses it as if she is drawing. she starts with the workgroup 'illusion and is-ness', which is a further development from the workgroup 'illusions'.
2019 discovers Eckhart Tolle, who has a great influence on her self and her expression in her work. she begins to use his terms 'form and formless'
2020 develops the gesso cubes paintings further, experimenting with pigments and discovers a new technique.
2020 begins a correspondence with the gallery owner Bernard Jacobson from London, which she maintains to this day. his two books have a great influence on her and encourage her to remain true to her individual artistic path.
2020 comes in touch with the work of Robert Motherwell and is very inspired by his focus and wisdom
2020 for the first time, she is sending a work of art from Rio into the world. a long dream comes true.
2020 she remembers this year as one of her best, both in her artistic and personal development. her newly created works express a noticeable clarity and calmness.
2021 is currently being created