From chaos I choose a single element – simplified, reduced to a trace of its origin. Abstraction becomes both an echo and a negation of what we have seen. In the Movement cycle, form yields to gesture and motion; in Macrocosm–Micro, it balances between vastness and detail; and in Scenery, it evokes a landscape known only through intuition. Ambiguity lurks in shapes that seem familiar yet remain uncertain – drawing us in with a sense of almost-pleasure, or with the decision that we do not wish to look further. The painting is the consequence of my choice – a trace of decisions that lead to a new form.
I collect fragments – photographs, pieces of newspapers, scraps of paper. Each one feels essential, yet insignificant on its own. From these scattered frames of past and present, I compose a new image. An image that binds together these small oddities into a whole – unreal, or perhaps credible? Portraits remain incomplete, landscapes impossible, and the story refuses to end. What is dispersed becomes whole.
Emma Hauck, wife and mother of two children, was admitted to the clinic in Heidelberg in 1909. For a year she wrote letters to her husband, but they were never sent. Written in pencil, filled with repetitions: “Herzensschatzi komm” (“darling, come”) or only “komm komm komm” (“come come come”). Words overwritten, blurred, almost invisible. A document of loneliness, unfulfilled desires, and longing. The letters became part of Hans Prinzhorn’s collection, assembled between 1919–1921. In 2000 the Quay Brothers created the animation In Absentia, a visual record of the experience of schizophrenia. Her letters are like meditation, like incantations. They inspired me to draw: straight lines, repetitive, imperfect, slightly trembling, blurred. On some I recorded time and its passing. Drawing brought me into a state of meditation, trance, oblivion. Each new drawing is a record that does not need sophistication, but rather concentration and humility.sdfsegyeruhrtsjmbnfgnf
