My work layers found objects, drawings, textures, and materials to create speculative spaces where boundaries dissolve. These scenes hover between dream and reality, where whales step onto land and people are pulled back into the sea— stories that break apart and rebuild, like waves reshaping the shore.
I embrace maximalism, building intricate, layered surfaces that feel alive and untamed, weaving personal stories with an underwater world. Growing up in the Tyrol, I was taught to be in awe and adhere to an established cultural and traditional order. The mountains, with their steep paths, felt alienating, much like being submerged at the bottom of the sea—a perspective removed from eye level.

Epilepsy, the rhythms it imposes on my body and mind, shapes how I work, particularly with materials. I see it as a strength through which I experience time, space, and control differently. This interplay between body and mind, between opposing forces, forms the core of my work. I’m quickly confused so in order to understand something I submerge it. I put an underwater lens over my culture and family to study it, as if it was an underwater documentary, or fish, in an aquarium. (Underwater creatures and their strong survival skills representing transformation, movement, and ambiguity). Glass has been the primary material I have explored. A dynamic being both liquid and a solid, fragile and robust, while being able to shatter into shards like a weapon. Water recurs as a symbol in my practice, a paradox of barrier and liberation, simultaneously pushing and pulling. I use the ethos of somatic therapy used to treat my epilepsy, to understand when I can stand, when im going to collapse, and when I want to collapse. I translate this to my material practice, taking the rigid and the fixed and through processes of melting, soaking, blurring and distorting. I allow them to collapse. Preparation and aftercare.

When I use ready made materials in my work, I understand each object as a quote, representing itself as a decontextualised actor that is part of an over-commercialised society. I rely on the common, plain, popular and vulgar. Objects like sponges that have no role other than soaking up something else. Plastic packaging that is both spawning chemicals while keeping something ‘clean’.



When i feel bad i think of myself as a dolphin, a dolphin in the mountain – time lapsed and in slow motion.