I don't title most of my work, so for this exhibition I had to find one title that could encompass all the works shown. Heimat aus der Ferne refers to home, but from a distance. It’s about belonging, and about how that feeling shifts when you’re living away from where you come from.

Mostly, I work with different layers, using the material to protect, cherish, or even seal what’s hidden underneath. It’s almost like layers of skin: a barrier that protects.

At first I developed negatives the “correct” way. After a while it became boring, almost too easy and repetitive, so I started looking for ways to change the process and damage what’s actually on the film negative. It isn’t controllable. The whole process is based on failure and experimentation. I go through hundreds of negatives before I get any final results. It’s fun, but it’s definitely not my main focus.

I think too much colour takes away from the actual focus points, which for me are the form, the material, and the thought behind it. I think that applies not only to art, but also to design, architecture, and so on.

I don’t overly prepare myself, to be honest. Of course the thought and the visual idea are there, but the rest comes while it’s happening. From time to time, it feels right to communicate through action. It’s mostly about capturing a moment - opening a conversation without words, through action.

Not really, no. I’m more curious about what’s behind or underneath. Not everything is visible right away, and I like to keep a certain mystery.

I think there are many more things for me to explore. I mostly work with what’s available - waste, remnants, and found objects - so sometimes I end up using materials I hadn’t even considered before they came into the studio.

I wish people would look a bit closer and notice the details, especially the choice of materials. I hear the word “painting” a lot when people see my work. Sometimes I understand why, but the material is a big part of it - actually, it’s one of the most important parts to me. It’s interesting, because I mostly see the material.

His way of thinking had a big influence on me and my work. I admire his hardheadedness and the strength of his belief. I also like that you can recognize a work of his so easily, and that he used so many different media to communicate his thoughts and ideas.

For the most part, I work without sketching or fixed ideas. It works more like a collage for me: I lay out what I have and go from there. There’s definitely a lot of failure and process until something is done. Usually it’s done when it leaves the studio - then I can’t touch it anymore.