A break-down in normalcy must be provoked, thus Martin Heidegger’s claim, so that we begin once again to notice the SPACE we inhabit.
(Elisabeth Bronfen.'Chryptotopias. Secret Sites/Transmittable Spaces'.Totes Haus Ur. La Biennale de Venezia 2001.)

My work is an ongoing investigation of spaces around me: their character, constitution and the way we are using, experiencing and remembering them. I construct site-specific architectural sculptures/spatial installations.
My starting points are physical attributes of a place or an object, context of the situation and here out forthcoming presumptions and routines regarding behaviour and movements. By spatial interventions I create a new scenario and change the spatial experience – by doing this I pinpoint the just mentioned aspects, question and challenge them.

I'm looking for a direct connection with the perceiver: the reality of the physical and the emotional experience is penetrating, unavoidable. That is why my artworks are primarily physical constructions/sculptures to be entered and experienced by multiple senses. I manipulate the perception, the mood and the expectation of the user (the public). Through the means of determining the proportions of the work to surrounding space(s) and to a human body, the movement routes within the artwork and the fall of light, I build up suspense.

The audience participates by simply being present, by moving through the installation and by experiencing the space. The awareness of own perception leads to the awareness of the space, the surroundings and the context. The participation of the public, their ‘use’ of the sculptures and their interaction with each other complement the artwork. The perception of individuals gets enriched with common dimension where the public becomes part of the artwork.

The places highlighted by my works unfold into contemplative experience moments; the time comes to stand still. The physical and mental enclosure of the public in the work creates an intimate dimension where it is possible to point the attention to the existing and familiar, but taken-for-granted and overlooked. A specific place, distinct experience, particular moment are re-discovered, re-lived and re-appreciated.
In addition to the actual physical reality, the artwork contains another, felt reality: the collective memory, personal associations, memories, stories, dreams.

Both in content and visually I often refer to other congenial artist, architects and writers that are expressing themselves to the topics of space, light or a concrete theme relevant in a specific work: e.g. Vermeer, Mondriaan, Rembrandt, Louis Barrágan, Tadao Ando, James Turell, Bob Wilson, Giorgio Chirico, Lauretta Vinciarelli, Gregory Schneider, André Kruysen, George Pérec, Haruki Murakami...
The audience can uncover further layers of the artwork in own degree of (self)recognition and knowledge.

Growingly important element in my work are my childhood memories regarding experiencing spaces and daily objects in childish perception, games and obsessions.
I attempt to appeal to the collective memory of the audience to resort to their own memories and to revive their childish imagination, which is capable of a lot more than imagination of adults.

By upsetting our usual way of seeing, new visual and experiental worlds are discovered.
(Von Dorothea Eimert.RSG.Leopold-Hoesch-Museum,Düren.1996)
In big words, my ambition is to confirm our physical place in this world and through this re-feel and re-establish the value of our being.







A break-down in normalcy must be provoked, thus Martin Heidegger’s claim, so that we begin once again to notice the SPACE we inhabit.
(Elisabeth Bronfen.'Chryptotopias. Secret Sites/Transmittable Spaces'.Totes Haus Ur. La Biennale de Venezia 2001.)

My work is an ongoing investigation of spaces around me: their character, constitution and the way we are using, experiencing and remembering them. I construct site-specific architectural sculptures/spatial installations.
My starting points are physical attributes of a place or an object, context of the situation and here out forthcoming presumptions and routines regarding behaviour and movements. By spatial interventions I create a new scenario and change the spatial experience – by doing this I pinpoint the just mentioned aspects, question and challenge them.

I'm looking for a direct connection with the perceiver: the reality of the physical and the emotional experience is penetrating, unavoidable. That is why my artworks are primarily physical constructions/sculptures to be entered and experienced by multiple senses. I manipulate the perception, the mood and the expectation of the user (the public). Through the means of determining the proportions of the work to surrounding space(s) and to a human body, the movement routes within the artwork and the fall of light, I build up suspense.

The audience participates by simply being present, by moving through the installation and by experiencing the space. The awareness of own perception leads to the awareness of the space, the surroundings and the context. The participation of the public, their ‘use’ of the sculptures and their interaction with each other complement the artwork. The perception of individuals gets enriched with common dimension where the public becomes part of the artwork.

The places highlighted by my works unfold into contemplative experience moments; the time comes to stand still. The physical and mental enclosure of the public in the work creates an intimate dimension where it is possible to point the attention to the existing and familiar, but taken-for-granted and overlooked. A specific place, distinct experience, particular moment are re-discovered, re-lived and re-appreciated.
In addition to the actual physical reality, the artwork contains another, felt reality: the collective memory, personal associations, memories, stories, dreams.

Both in content and visually I often refer to other congenial artist, architects and writers that are expressing themselves to the topics of space, light or a concrete theme relevant in a specific work: e.g. Vermeer, Mondriaan, Rembrandt, Louis Barrágan, Tadao Ando, James Turell, Bob Wilson, Giorgio Chirico, Lauretta Vinciarelli, Gregory Schneider, André Kruysen, George Pérec, Haruki Murakami...
The audience can uncover further layers of the artwork in own degree of (self)recognition and knowledge.

Growingly important element in my work are my childhood memories regarding experiencing spaces and daily objects in childish perception, games and obsessions.
I attempt to appeal to the collective memory of the audience to resort to their own memories and to revive their childish imagination, which is capable of a lot more than imagination of adults.

By upsetting our usual way of seeing, new visual and experiental worlds are discovered.
(Von Dorothea Eimert.RSG.Leopold-Hoesch-Museum,Düren.1996)
In big words, my ambition is to confirm our physical place in this world and through this re-feel and re-establish the value of our being.