The spatial installation "Limbus" consists of several elements: two oil paintings mounted on easel-like scaffolding, three other oil paintings hanging on the walls, two Epoxit objects in which a fir branch and a piece of earth interspersed with chive root are poured in, and several found objects. The title refers to the Christian-theological construct Limbus (Latin for "edge", "hem", "boundary"), which in Christian theology two places on the edge of hell (also: limbo, vestibule or extreme circle of hell ) - the place for souls who are excluded from heaven without their own fault.

Collages of found materials of different origin and function, separated and separated from their contexts of origin. My painterly and installative work begins with dissolving, separating, dismembering and selecting. Fragments and shreds of diverse media and content are brought together to something new. A process that uncovers the essential in the unimportant, revealing the trash in the useful / useful.

On the level of images, cis-male bodies (parts and fragments) are bustling. Indications of a prevailing phallogocentrism, the power in religion, politics, science, education, economics, culture and law in the cis-male positions. But these bodies are hurt, dissected, dismembered. They persist in averted and evocative gestures and attitudes, they are stuck. Their will to get moving to arrive is prevented.

The Renaissance installation of the castrum doloris inspired me to design easel-like furniture. A wooden scaffolding with plastic bottles and a metal wagon with construction. Found objects that become elemental and form the basis.

A piece of chive root, streaky earth and a withered fir branch. Both cast in a bubble-like organic form of synthetic resin. Their condition is final and immutable through conservation. Finely branched roots and twigs preserved in an organic form for eternity.