When creating an artwork in the unknown territories of extended media, I intent to discover and show the new methods of thinking and writing, borrowing tools from printmaking and the field of drawing. The textual research next to the artwork is highly targeted to other artists. 

Through my research, I value art media as a great tool for worlding. I put my emphasis on the power of art to give a shifted look to contemporary situations through staging, imagining, telling a story of another kind. Thinking and doing things like a drawing or printmaking artist is a valuable method when used as a transferable tool. 

The hybridization of drawing or print becoming animation or another form has potential for a new ways of thinking, seeing and writing. Traditional, resisting and slow materiality next to new quick solutions in virtual media is the tool for worlding the new realities. Writing about a hybrid art field uses the same tool – creating new knowledge when layering traditional and modern layers on another. The text about hybrid media becomes a hybrid of the textual layers itself.

The question of the imagining becomes the basis of the term „worlding“. By worlding I mean not just creating a piece of art but creating a whole conceptually and technically cohesive microworld. An own world in a world.

The term of post-printmaking intrigues me to investigate the potentiality of putting myself in this context. Who is a printmaking artist in the age of post-print?

When comparing myself to my predecessors on the family tree of printmakers, I see mostly optimistic visions of the future. It reflected greatly the Zeitgeist of the past: a great faith in progress.  A shift in the urban space has always been a favourite subject for print artists. I find that printmakers saw the future rather as a positive vision, which would come after the limitations of the Soviet era. Today, a dim post-print, post-physical print, post-Gutenberg era has followed the golden summer of printmaking. I am an epiloguous “other”, operating in an epiloguous, autumnal unsafe post-humanist epoch.

The research written next to producing artwork creates a parallel knowledge. Writing practice creates potentially a new method of working. Language becomes an artistic tool, not just a description next to an artwork, and that tool could be powerful also in another artists hands.

The term Ruinenlust in German marks the joy of looking at ruins, bittersweet nostalgia. I am struck by Ruinenlust when I imagine the current buildings surrounding me surviving in the future.

I work with or in the extensions of conventional art media, constructing layers over and above each other. The extended drawing or printmaking field, or the space where they meet, change or hybridize is what I investigate, through practice and writing.

I call my two-dimensional works hybrid drawings. I want to avoid such a nonsense term like “mixed media”, because I consider the first and last layer of the work to be a drawing. I think in the language of drawing, I trace the images and work in layers like a printmaker, I edit and clean up the “raw material” like a film-maker.