HELLO SUPER FUTURE KID AND WELCOME BACK TO ANOTHER CREATIVE COLLABORATION WITH 4BYSIX. IT’S GREAT TO BE WORKING WITH YOU AGAIN AND THANK YOU FOR TAKING THE TIME TO SPEAK TO US ABOUT YOUR WORK.

TO START, FOR THOSE WHO MAY BE SEEING YOUR WORK FOR THE FIRST TIME, PLEASE CAN YOU GIVE US A BRIEF INTRODUCTION TO YOURSELF AND YOUR ART PRACTICE?

I’m a German artist working with painting, sculpture and ceramics, often in connection with one another. My work centres around distilled figures that are suspended within translucent layers of paint. Play and intuition are both important parts of my process, allowing forms and ideas to shift and transform as the work develops. I’m interested in giving form to things that can be sensed but aren’t necessarily visible or easily defined, creating figures and worlds that follow their own emotional logic.

GIVEN THAT YOU DESCRIBE THE FIGURES IN YOUR WORK AS ‘AVATARS’ WHICH DEPICT CERTAIN SIDES OF YOUR PERSONALITY DEPENDING ON WHEN YOU MADE THE PAINTING, WHAT CAN YOU TELL US ABOUT THE FIGURE YOU HAVE PAINTED ON THE WINDOW?

I still think of my figures as avatars in a way, although my understanding of them has changed over time. Rather than representing a specific side of my personality, I now think of them more as vessels for thoughts, feelings or things I’m trying to understand about myself.

My figures are clearly readable from a distance, but on closer inspection the body is assembled through overlapping shapes and different levels of visibility, with colours and forms moving through translucent layers of paint. Working on a car window added another dimension to this, as the transparency of the glass became part of the image and connects quite naturally to what I’m exploring in my recent paintings.

WHAT WAS THE INITIAL DRAW TO RETURNING TO COLLABORATE WITH 4BYSIX AND CAN YOU TELL US OF ANY PERSONAL OR CREATIVE CONNECTIONS TO CARS?

I thought the idea of painting on an old car window was intriguing, even though I don’t have any real personal or creative connection to cars. I liked the challenge of working with an object and surface that I wouldn’t normally encounter in my practice, and seeing how my work might translate onto it.

LASTLY, HOW HAS LIFE IN THE STUDIO BEEN TREATING YOU? WHAT’S NEXT FOR THE REST OF YOUR 2026?

Life in the studio is very exciting right now. I’m in a period where the work has taken a very interesting direction. With each painting, the work is gradually becoming more layered and complex, while I’m also trying to refine and deepen that language and see how far I can push it. I’ve also been working more with ceramics and exploring ways the two can start communicating with each other and potentially become part of the same work. For the rest of the year I’m looking forward to staying with that momentum and seeing where it takes me.