Investors
2026
Laser-cut office folders

Real Estate
11-14/11/2025
Akademie Galerie, Nuremberg
Instalation, 2025

And who among us is not neurotic, and has never complained that they are not understood? Why did you come here, to this place, if not in the hope of being understood, of being in some small way comprehended by your peers, and embraced by them in a fellowship of shared secrets? I don’t know about you, but I just want to be held.
Mary Ruefle, “Madness, Rack, and Honey: Collected Lectures” 2012

- What does it feel like in there?
The rational answer to this question involves a kind of person who, in addition to the spiritual, also possesses something material, something either to grasp, or with which one could grasp.

REFERENCES TO THE REAL ESTATE:

(1)
At the end of the sixth minute of the film “The Lonely Villa,” a mother and three daughters move all the furniture in the room – namely, a table, a chair, an armchair, and a sofa – to the door to prevent burglars from entering. Nearing the end of the film, the burglars finally manage to break down the door, and the family, along with the film’s action, moves to the next room, which looks identical in layout to the previous one, but with a slightly altered set design. Here, the stage is occupied with a coffee table, two chairs, and a chest of drawers, but the door is now blocked with the family’s bodies.The 12-minute silent film, devoid of any soundtrack, is not at all devoid of language.
Although language in its classical form appears only a couple of times in the film, these almost elusive signs, together with the languages ​​of acting and scenography, can describe values ​​and relationships far more clearly and powerfully than speech that devolves into scream.

(2)
“I keep looking, looking. Trying to understand. Trying to give what I have gone through to someone else, and I don’t know who, but I don’t want to be alone with that experience”.

These words open Clarice Lispector’s novel “Passion According to G.H.” - the story of the protagonist’s mystical crisis, much of which takes place within the walls of a single room in her large penthouse. In the more than two hundred pages of this turbulent monologue, the only hints of a description of the protagonist slip in only in the spatial elements, the props of her universe:

“All you need to do is see the initials G. H. in the leather of my luggage to know that that’s me”.

“The room was the opposite of what I had created in my home, the opposite of the gentle beauty that came from my talent for
arrangement, from my talent for living, the opposite of my serene irony, my sweet, disinterested irony: it was a violation of my quotation marks, the quotation marks that made me a reference to myself. The room was the portrait of an empty stomach”.

(3)
The room was a portrait in the works of the Belgian artist René Magritte. He often took familiar, mundane objects as a question, searching for another object that could serve as an answer, giving simple scenes of the material everyday a plot, and thereby forcing the composition to doubt the normal order of things.
The central object of the painting “Homage to Mack Sennett” is a wardrobe. Nothing in its form or surroundings, from an architectural standpoint, suggests further details. Only the left door of the wardrobe, almost wide open, like a half-opened curtain, sheds light on a possible continuation. Inside, a long, tight dress hangs on a hanger, with a pair of breasts visible in the front.
Referring again to Lispector’s novel, on page eleven, the protagonist says:

“I’m not up to picturing a whole person because I’m not a whole person myself. And how can I imagine a face if I don’t know what kind of expression I need on it?”

Thinking about all this raises another question: How can something that so strongly suggests presence so obviously indicate absence?
And vice versa?

BROCHURE

Celsius
2025
Instalation

(1) According to the belief, 5 to 10 minutes after its emergence, the holy fire does not burn people who touch the open flame with unprotected areas of skin. (source: holyfire.org) If there are any more or less rational explanations for this phenomenon, one of them may be that the heat of this fire simply compensates for the energy expended by the pilgrims on their long journey to the shrine. In thermodynamics, heat is not defined as a “form of energy,” but rather as the transfer of energy between two systems occurring solely as a result of a temperature difference.

(2) The pain in the muscles from holding a three-kilogram ceramic horse head can only be compared to the pain caused by picking up the shards of this sculpture from the ground. How can one be sure of the healing power of a warming salve if it is not an energy-transmitting heat (i.e., warm in itself)?
Like classical heat therapy, ritual practices of consecrating, activating, or healing objects with fire indirectly affirm this thermodynamic principle, since the object merely receives an excess of energy or replenishes its deficiency. Such rituals are often based on the use of fire outside its prescribed functions or handling instructions. Cut out from its original purpose, the kiln-fired warming salve becomes a ritual gesture and a manifestation of replenishment and healing.

Investors
2026
Laser-cut office folders

Real Estate
11-14/11/2025
Akademie Galerie, Nuremberg
Instalation, 2025

And who among us is not neurotic, and has never complained that they are not understood? Why did you come here, to this place, if not in the hope of being understood, of being in some small way comprehended by your peers, and embraced by them in a fellowship of shared secrets? I don’t know about you, but I just want to be held.
Mary Ruefle, “Madness, Rack, and Honey: Collected Lectures” 2012

- What does it feel like in there?
The rational answer to this question involves a kind of person who, in addition to the spiritual, also possesses something material, something either to grasp, or with which one could grasp.

REFERENCES TO THE REAL ESTATE:

(1)
At the end of the sixth minute of the film “The Lonely Villa,” a mother and three daughters move all the furniture in the room – namely, a table, a chair, an armchair, and a sofa – to the door to prevent burglars from entering. Nearing the end of the film, the burglars finally manage to break down the door, and the family, along with the film’s action, moves to the next room, which looks identical in layout to the previous one, but with a slightly altered set design. Here, the stage is occupied with a coffee table, two chairs, and a chest of drawers, but the door is now blocked with the family’s bodies.The 12-minute silent film, devoid of any soundtrack, is not at all devoid of language.
Although language in its classical form appears only a couple of times in the film, these almost elusive signs, together with the languages ​​of acting and scenography, can describe values ​​and relationships far more clearly and powerfully than speech that devolves into scream.

(2)
“I keep looking, looking. Trying to understand. Trying to give what I have gone through to someone else, and I don’t know who, but I don’t want to be alone with that experience”.

These words open Clarice Lispector’s novel “Passion According to G.H.” - the story of the protagonist’s mystical crisis, much of which takes place within the walls of a single room in her large penthouse. In the more than two hundred pages of this turbulent monologue, the only hints of a description of the protagonist slip in only in the spatial elements, the props of her universe:

“All you need to do is see the initials G. H. in the leather of my luggage to know that that’s me”.

“The room was the opposite of what I had created in my home, the opposite of the gentle beauty that came from my talent for
arrangement, from my talent for living, the opposite of my serene irony, my sweet, disinterested irony: it was a violation of my quotation marks, the quotation marks that made me a reference to myself. The room was the portrait of an empty stomach”.

(3)
The room was a portrait in the works of the Belgian artist René Magritte. He often took familiar, mundane objects as a question, searching for another object that could serve as an answer, giving simple scenes of the material everyday a plot, and thereby forcing the composition to doubt the normal order of things.
The central object of the painting “Homage to Mack Sennett” is a wardrobe. Nothing in its form or surroundings, from an architectural standpoint, suggests further details. Only the left door of the wardrobe, almost wide open, like a half-opened curtain, sheds light on a possible continuation. Inside, a long, tight dress hangs on a hanger, with a pair of breasts visible in the front.
Referring again to Lispector’s novel, on page eleven, the protagonist says:

“I’m not up to picturing a whole person because I’m not a whole person myself. And how can I imagine a face if I don’t know what kind of expression I need on it?”

Thinking about all this raises another question: How can something that so strongly suggests presence so obviously indicate absence?
And vice versa?

BROCHURE

Celsius
2025
Instalation

(1) According to the belief, 5 to 10 minutes after its emergence, the holy fire does not burn people who touch the open flame with unprotected areas of skin. (source: holyfire.org) If there are any more or less rational explanations for this phenomenon, one of them may be that the heat of this fire simply compensates for the energy expended by the pilgrims on their long journey to the shrine. In thermodynamics, heat is not defined as a “form of energy,” but rather as the transfer of energy between two systems occurring solely as a result of a temperature difference.

(2) The pain in the muscles from holding a three-kilogram ceramic horse head can only be compared to the pain caused by picking up the shards of this sculpture from the ground. How can one be sure of the healing power of a warming salve if it is not an energy-transmitting heat (i.e., warm in itself)?
Like classical heat therapy, ritual practices of consecrating, activating, or healing objects with fire indirectly affirm this thermodynamic principle, since the object merely receives an excess of energy or replenishes its deficiency. Such rituals are often based on the use of fire outside its prescribed functions or handling instructions. Cut out from its original purpose, the kiln-fired warming salve becomes a ritual gesture and a manifestation of replenishment and healing.

Paydirt
2025
Annual Exhibition at Academy of Fine Arts in Nuremberg