I like to use my own glazing technique to create the often over-proportioned bodies in my pictorial worlds. The structure in different levels with which the light is allowed to play gives the skin a kind of brilliance, as one knows it from the inner life of a shell.
The use of seemingly contradictory techniques is an attempt to master colour.
It is not enough to confront colour with the means of painting alone. Sometimes it is necessary to leave the path, but still pursue the same goal of making colour tangible.
When I add an embroidered thread to my stroke, I do so because painting in its variety of contrasts shows me a limit that I try to break through in this way.
The interrupted lines that arise during embroidery are intended to imitate the brushstroke and interact with the light in a different way than the painting medium can.
I don’t want to work with textiles, it should remain a form of painting.
At the moment I’m using real embroidery thread for my experiments, as they are available with bright colour possibilities in all colour levels. But I don’t want to rule out making and colouring my own yarns at some point.
Giving the colour experience yet another opportunity to indulge the eye, I decided to design individual elements on the canvas with coloured tissue paper. The transparent nature of the material gives the surface a dynamic of its own.
The glued areas and the wild folds create a very unique rhythm of colour.

When the eye goes for a walk, the colour should make the endorphins dance.