Which one of your installations you remember as the most complex and what were the challenges?

In a way every work I have made in the past years had an own field of complexity and potential of problematics. My so far largest work “Helix (Raumzeichnung Uppsala)” 2018 in Uppsala Science Park Sweden is a 25 metres high sculpture growing from the floor to the glass roof in the atrium. It was designed as a site specific, permanent art project for the new building. For structural calculations and the production of the giant sculpture I was working with a whole team of engineers, metal workers and sculptors. The most challenging part was to take my intuitional thinking as an artist into analytical and systematic standard terms of engineering and to communicate this in the middle of the process.

Which are the artists that inspire you and what art movement would you refer your practice to?

My art practice is mainly motivated through motion, traveling and looking at moving patterns like birds in flight, gestures and things we see randomly. But also artists like Nasreen Mohamedi, Fred Sandback, Guo Fengyi, Hans Hartung, just to name a few, are working with the language of the line and keep me fascinated by the many expressions it can offer. Artist friends like Nikolaus Gansterer and our encounters in working together on dialoguing exhibitions are always a great experience and source of inspiration.

What are your future plans?

In the past year of the pandemic I learned to make my future plans not too far away from the present situation. So, I prefer to use the word “hope” instead of “plan” – because everything can change. My future hopes are to continue traveling and to create more site specific drawings, that very long line of my work has not come to an end yet.