Landmarks and the  progress paradox

To me, my artistic work is a commitment to change the perspective of the viewer and an invitation to think and to change things. In my works, on closer inspection, small details reveal larger connections.

Following an intuition, I began to create an extraordinary picture language with the “Platonic landscapes”. Geometric objects corresponding to the five Platonic bodies are temporarily positioned and photographed at predetermined locations. I create landmarks, signals or exclamation points in a human environment that has been sustainably modified.
The objects emphasize the particularity of the selected place by their golden color. Often the chosen landscapes and places are threatened or already destroyed. In my artistic work, I am concerned with the tension field of the natural and the created: the question of what is created in a landscape and what is naturally can hardly be satisfactorily answered.

The objects are almost extraterrestrial, not in nature. Is today’s “cultural landscape”, naturally, when it was made use of by the people? The strange objects in the landscape, however, are found in natural crystalline structures, while there is hardly any untouched nature.
In the work “Platonic landscape @ Grimsel” parts of the Rhone glacier can not be seen in the background. It took only 20 years until the glacier was no longer visible from this position. This series and the installations at the old Rheinfelden hydroelectric power station show that the works are unique and contemporary, which have a documentary character but are nevertheless independent works. The photographs are generated digitally, some motifs are partially transformed into a graphic by special techniques.
Despite the exploration of the tension field of the natural and the created, the objects which are initially strange in the landscape can transform to the viewer, who is invited to contemplate inner tranquility through contemplation.
The installations allows for different views and the viewer has plenty of room for his own thoughts on the subject.

From 2014 I developed a second group of works in a distinctive form language. The process is a kind of research work entitled “Progress Paradox – the progress of today is a fossil tomorrow”.

This group of works is a representation of the paleontological fauna and flora. The works are of great aesthetic appeal, the objects of the primordial animal and plant world have something in common: they are “living fossils”. They are the inspiration source, for the design of a fantastically appealing world. The goal is not a one-to-one reproduction, the form elements are rather geometrically abstract and thus to their own forming language.
The trilobites, such as the Nautilus (ammonite), the squid (Belemnite), the tulip tree, the ginkgo biloba or various ferns, are the beings that have lived on our earth for millions of years.
Human beings also appear in this group of works. Only will these survive as long as they permanently destroy the ecosystem Planet Earth together with the living fossils? This is what I call (R) evolution in the spiritual-mental sense. Rethinking, thinking … acting.
Transformation is ultimately the goal of the way – spiritual matter – a paradox without mystical transfiguration. Metaphysics, alchemy or the divine? The answers are always individual and yet networked.

The 3D works are digitally modeled by hand with special, elaborate 3D programs, so to say from a virtual clump of clay or a virtual stone. I do not use 3D scans or figures from a generator.
Compared to a sculptor’s work, CAD modeling is the digital tool for the computer. Without imagination, craftsmanship and technical skills, no art object could be created even in the most modern technology. The modeled 3D objects are either printed or rendered, as a three-dimensional object in 3D laser sintering process or are generated two-dimensionally as image / C printing.


Due to 3D printing, the object is not a mass product.

Although a 3D sculpture can be reproduced as often as desired – the printing process is too time-intensive and too expensive with a few hours per object and is therefore only suitable for single objects or limited editions.

I always use the 3D prints and renderings in different sizes, so they are a unicate. A 3D print in stainless steel is never identical to the next print.
The light objects such as “TriloShpereLight” are printed in nylon plastic. The lighting emphasizes its own formal quality and compositional dynamics. The implementation is unique in its kind and the works impress with something mysterious.