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I prefer to work alone in my studio, focusing intently on my work. Starting with an initial sketch, I develop my pieces partly associatively, partly guided by my sense of composition. I find inspiration in everyday phenomena or special events. I don’t just seek beauty and balance in stillness, but explore the tensions, ruptures, and resistances of life—specific conflicts, turning points, or experiences that I want to express on canvas. My techniques and materials are diverse, but I mostly use acrylics, brushes, squeegees, and masking tape. Only acrylic paint produces the color intensity I strive for. Furthermore, I prefer large formats and work quite close to the canvas. This allows me an immersive process—I am almost absorbed by the painting and can immediately experience its effect. Music, from jazz to classical, always accompanies my work as an indispensable soundtrack. The ideas of artistic freedom and improvisation in jazz inspire me. My paintings are not direct translations of musical structures. The music creates a space in which picturesque composition and improvisation can unfold.
Platzhalter
My South American roots and Berlin as my home base form the backdrop to my artistic work. I move between various artistic traditions: Brazilian Modernismo and its principle of productive hybridity, the color dynamics of Sonia and Robert Delaunay, and the geometric rigor of Sergei Poliakoff. In dialogue with these references, I develop a distinctive visual language that illustrates less geographical origin than it explores productive tensions between different painterly strategies.
Almost all of my paintings are created over extended periods. I work on several pieces simultaneously and consciously interrupt each one in order to return later with a fresh perspective. I intuitively recognize when a work is finished. My goal is to build a bridge to other people—if my paintings spark a conversation, then I have achieved that.