project #3
2025
In 2018, I spent some time in the Waldviertel region – painting and drawing in the midst of nature. It was a deeply moving experience. A small series emerged, and at the same time, I felt: there is more potential here.
Later, Barbara Steininger-Wetzlmair invited me to exhibit at Offspace Woodquarter as curator. That opportunity led me to engage more deeply with the work of Erich Steininger.
I carefully explored the exhibition space – a former gymnasium. It has a unique atmosphere: playful, rhythmic, full of interruptions. It quickly became clear to me that this space calls for a specific, clear artistic response – a format that stands on its own while also resonating with the room’s distinctive character.
While engaging with Erich Steininger's work, I was particularly fascinated by his sgraffito at the kindergarten in Rappottenstein.
It became a key for me to understand the space – both as a formal and conceptual inspiration.
Over time, a well-thought-out project began to take shape: the sgraffito provided the framework, while his woodcuts offered impulses for structure, contrast, and dynamic reduction.
This led to the creation of a new, site-specific work – developed especially for the Offspace.
14.06-30.12.2025
Letting go
The series Letting Go captures the essence of change and release—drawing inspiration from nature’s quiet transformation in autumn. Like trees shedding their leaves without fear of the coming winter, the works invite us to embrace transition and focus on what truly matters. In this exhibition, the series is presented in a new composition and context, revealing unexpected nuances and a fresh presence.
Where Is Wood Going?
The air in the Waldviertel smells of leaves and resin—of wood’s very origin. I keep returning to one question: Where is wood heading?
Wood has a natural structure—grain, flow, irregularities. Its imperfection is part of its beauty. But today, everything seems smoother, more refined—even wood is increasingly processed, polished, standardized.
In the woodcuts of Erich Steininger, you can still sense the raw essence. His works bear traces, resistance—a direct confrontation with the material. I was deeply inspired by that: the raw, unfiltered beauty of nature.
From Body to Print
In my artistic practice, I wanted to engage with the idea of woodcut printing—without using wood itself. In my studio, I didn’t have access to the necessary tools or a printing press. So I began to experiment with what was available: inks, rollers, and paper.
Looking for alternatives, I turned to local factories that work with wood. There, I discovered industrial cardboard—standardized, smooth materials. Through deliberate treatment, I was able to create textures that recall the natural character of wood.
I also created body prints—direct imprints of movement, weight, and touch. These works connect the human body with material and industrial context.
This led to a distinctive form of printing: reduced, sustainable, and physically grounded—a continuation of the woodcut tradition by other means.
OPENING
14.06.2025
A brief recap and some impressions from the Waldviertel region in Lower Austria.
