Thinking in layers becomes a way of creating both: the artefacts and the writing.
The emphasis of the artistic research is divided in extending and overlapping categories:
first, conceptually worlding the post-capitalist landscapes
–> this becomes the study-case of the second and most imporant focus:
the innovation of the formal indermedial method when creating hybrid art.
I am using the printmaking and drawing artist’s way of thinking as a method of creating artistic research.
Conceptually, I work with and depict dystopic urban landscapes. I stage the far future to show the present as a ruin of once optimistic desires. How to shift the look, the sense and how to relate to contemporary situations?
As an artist, for me the most important question is not “Why?” or “How?” but imagining “What if …?”.
What if humankind is extinct and nature has reconquered urban landscapes? What if there is the possibility of another kind of life on the capitalist ruins?
The global pandemic we are having right now shows really clearly that being pessimistic about economic progress is the new way of survival.
As an artist I stage fictions about the future addressing environmental concerns, and sensing a dystopic scenery. I also look at contemporary architecture with nostalgia, with Ruinenlust. Looking at urban landscapes, well-known buildings or districts as if they were really old leftovers from an ancient civilisation called human beings gives me the key to a new way of thinking and imagining.
My artistic practice provides a new possibility or a tool to shift the discourse into other dimensions like creating or staging an experience and atmosphere in an exhibition space. Messing up the timescale and layering meanings is my conceptual method of worlding.
Combining new and old – using or seeing old with a new look or looking at the contemporary as something ancient- reflects also in the art media I am working with.
Formally, I am constantly cross-breeding older crafts and newer techniques and technologies, deconstructing the hierarchies in art, redefining the artfields by hybrizations and extensions.
What if drawing or printmaking mates three-dimensional animation experienced as an orchestrated community, layered on top of each other, as a dream?
How would a hand-drawn line or printed furrow be seen or touched in a virtual space?
A fresh and unknown territory could be discovered when combining traditional, handmade, very tactile material art such as a pencil or charcoal drawing, or an etching with augmented, postphysical media. Depicting also old and new objects, or imagining new as very old reflects in the materials used. Layering and extending media gives a fresh new perspective to the dystopic scenery. Asking the “what if” question echoes in the extension of drawing – “What happens if a drawing becomes animated? What if a drawing becomes a print, becomes an animation, becomes a three dimensional virtual reality?”
