I am sitting somewhere and I have nothing else to do. I might as well do some sketches.
Everyday life, almost boring scenes in trains, cars, homes or lecture halls are then getting doodled unconstrainedly and later brought to canvas. Although the sketch is the keystone, it is also just a mere reference. The painting is independent.
In a way I want to believe that I rather build my paintings than paint them. Different layers out of different materials all behaving differently to each other are applied during a longer process: while the oil needs to dry, the already dried spray paint needs to be maske, the primer should to be scratched here while still being semi wet and the died canvas must lightly shine through there.
The titles, almost short stories themselves, form the last layer. They are woven into the embedded visual telling of each painting and together they form the final - mostly humours - narrative.
While the paintings exclusively emerge solely from me, there is also the layer of adaptation coming to my room and sound work.
Just as in my painting practice an influence from the outside is always the keystone. Appealing objects, interesting spaces or sounds evoke the need to work with them. But on top of that, prevalent spacial and acoustic situations need the be adapted to. It is not a compromise though that I try to achieve but rather taking the uniqueness out of that specific situation and let it merge with or influence the ideas for that piece of work.