I paint my writing and write my paintings to place a textually textured pattern upon the visual. My visual expression began with a fascination for the shape of words, the observation of details in both art and life, and its impact on perspective and the perception of an idea of reality and its associated concept of truth. It evolved into a multidimensional exploration of writing and visual aesthetics.

The wide range of materials and techniques with which I create my Schriftbilder, allow me to directly incorporate the elements of art history and philosophy into the core concept of existentialism. It forces a desired multiplicity of roles (object, creator, viewer) onto the process of creation.

Through setting-affected lettering of fragmented phrases, essays and streams of consciousness about concepts of materiality and existentialism, I aim to evoke a questioning of paradigms of art narratives. I wish for the viewer to contemplate the complexities of the self in relation to existence by contextualising their perception to the object of art. To evoke a grasp on true beauty through the practice of deep observation of existence in patterns and the integrity of materiality.

The exploration of “being and not being” delves into both the abstract and the tangible. By examining how letters interact with their surroundings, I explore not just their physical presence, but also the conceptual significance of knowing that there is meaning even when one does not immediately grasp the meaning. There is a dissonance of communicative barriers and its interaction with a culture that is creating anew that which exists. Being beautiful yet distorted, the egregious subjectivation of intent is also valuable in the creation of something new within the context that is in place.

Words that are not immediately readable still hold meaning as material entities composed of letters as well as abstract ideas. This idea can exist without a physical form or representation through an image. All that we perceive is converted into information for the brain to process, so everything becomes conceptual in its final form. Materiality is merely the form, which information takes, in order to be communicated.

Art existing in ideas removes the object and the need for an original. Instead, the concept is communicated through examples that translate it into tangible instances, which in turn conveys the essence of that action. The presentation is not the original art, the concept is the original art. And as such, all presentations are merely copies without access to an original, because the original, the concept go the art, needs to be reconstructed into another piece of abstract conceptual understanding and information within the concept of the perceiver’s mind, where it may very well have become a different piece of art entirely. No piece of art, no piece of information even, that has been materialized into communication, can ever be considered the original art, which exists only truly originally as a concept.

The intent and context behind creating a piece of art can be inherent in the object, but without perception, does it exist or does it not exist?

The notion of knowing that we do not know is itself knowledge, but it doesn’t make it the specific knowledge we reference. The word of a thing is not the thing itself, but the word of the word is the idea of itself.

Only when information is materialized in a form of communication can it become the object of that idea.

Thus, the idea, the abstract, and the concept are paramount in all that I do. I’m interested in the material as a form of existence, a presence of what may be perceived. I aim to bridge the gap between the reality of the senses and the reality of the abstract, especially when these converge in ways that challenge our common perceptions.

This applies to not only the varying forms of material applications through which I explore textual patterns in my work, but also the way in which I flagrantly warp the very essence of work that already exists, the way I nauseatingly use and abuse existing works of art as as perceiver. I twist something already beautiful, already belonging to another’s creation, into becoming an unrecognizable image of a detail of a communication that has, through layers, become contorted into something completely new.

The point is that all acts of creativity go through this process, our very being is a conjunction and reorganization of the information communicated and gathered, re-contextualised, misinterpreted, stretched and distorted to become what results into something entirely or even partially new.

We, and art, exist as an accumulation of all that has existed, whether we know it or not, all the impact of all that has been impacted, and all that exists beyond the periphery of our awareness. The physical distance, which an image of an object evokes on a screen, on a print behind glass, even ink or paint on a piece of material, is manifested in the contorted application of barely recognizable letters and words, which just beyond the periphery of recognition, represent the grasp of a concept as elusive as the grasp of materiality and certainty.