“The human being and their fellow humans, their relationship to one another. Situations we all believe to have experienced—depicting this is important to me in terms of content. However, what moves me even more is the formal and chromatic composition of the surface, the canvas. Working swiftly and powerfully, avoiding pettiness from the start. Quickly and radically discarding what lacks strength. Yet, preserving older fragments as a document of the temporal progression in painting is part of my style. In this way, the fourth dimension—time—enters my art. Thus, the long journey unfolds: on one hand, striving for harmony; on the other, intensifying tension. This also involves embracing chance in the work, giving it space. Learning to deal with mistakes, even committing them deliberately. At the beginning of my work: a structured base (which grants both chance and mistakes their due place), then colored, shifting planes, and finally the sketch. In the end, I arrive at a completely different, unpredictable result. Art, after all, is not calculable. In between lies the immensely satisfying painting process I described earlier. For me, painting is working with lines, planes, and their colors—creating tension or harmony, a balanced interplay of forces that does justice to the image. Not imitating nature, but creating like nature. My paintings evolve much like in evolution. Some directions I pursue turn out to be dead ends, and only the right main path survives. Making the process, the passage of time, and thus the dimension of time visible—this, in broad terms, is how I see my painting."