At the center is the relationship to nature, healing and destructive at once. Landscape, water, and vegetation act as mirrors of the inner life: growth, decay, cycles, regeneration. For me, this connection points to origin and responsibility.

• Landscapes as a bridge to imagination: Physical topographies become projection surfaces for inner images; from them arise fundamental questions of existence, belonging, and change.

• Ambivalence & emergence: Ambiguity is not a side effect but a principle. Processes of formation remain visible; series invite reflection and allow the audience to co-create meaning.

• Beauty & violence: Between moving grace and latent, cold violence, friction sharpens perception – a disquieting beauty that demands reflection rather than consumption.

• Illusion over inventory: Images invite suggestive perception; reality is not catalogued but staged as a question.

• Audience involvement: Encounters at eye level – at times participatory or physically experiential – so perception tips from passive looking into active thinking and empathising.

• Everyday life as a point of departure: Environments, routines, and personal experiences are transformed and renegotiated within present-day conflicts (ecology, mental health, gender roles).

• Photography – staged & documentary: Conceptual setups with precise lighting, shifts in perspective, and symbolic props; in parallel, a documentary line focused on natural structures (floodplain forest, water surfaces, sediments, micro-reliefs).

• Textile & object: Handcrafted costumes, objects, and sets provide materiality, context, and tactile depth.

• Multimedia & space: Installative presentations, video, and sound create immersive situations and involve visitors situationally or physically.

• Illusion & suggestion: Instead of merely depicting factual reality, a constructed perception emerges, via reflections, shifts of focus, controlled image ruptures, and symbolic placements that activate the imagination.

• Process & ambiguity: Repetition and variation make becoming visible, keep meanings open, and deliberately intensify wonder.

• Form/function follows content: Means and modes of presentation are subordinated to the conceptual intent – participatory elements, instructions, or responsive setups are used only where they carry meaning.

• Transformation of the everyday: Field notes, found objects, and quotidian items are re-encoded into image, textile, or space – as a bridge between immediate life and artistic narrative.

• Post-production: Digital editing is precise and restrained – used to guide the image rather than conceal; authenticity is the measure, not the effect.