The series “Body” (VIII), “Intuition” (X, XI) and “Being Held” (XIV, XV) explore the interaction of three areas of being human in the world. Depicting humanity in its wholeness through rootedness, spiritual orientation and direct expression. An invitation to the viewer to come into deeper contact with ones own humanity – and to see the beauty in the already existing access to oneself.

The sketchbook drawings “Night in the Throat” (XI) and “Failed Attempt at Transformation” refer to these inner processes, which are characterized by a cocoon and its inner life, similar to the transformation of a butterfly – here painted with the non-dominant hand.

The warm light flows through the surface formed as sky or water in the work “resisting the impulse to withdraw” (XI) and also finds a spiritual orientation here in the received surface. As in the painting “Blocking the Lump”, the color creates a mood of stability, under which the individual strands of water refer to the formation of roots, as when, guided by spiritual orientation, roots are put down in new places.

An act of uncovering shows “On the shoulders of the little ones”. A dolphin raises layers of water like a blanket and discovers hidden layers underneath. Mental orientation can become an avoidance strategy to face deeper wounds. However, sometimes deeply nourishing places of an inner home can be found in these wounded feelings, as the link to “It hurts so much to be so lonely” (XI) shows.

The work “in the damp and cool protection of mountain walls” is similarly multi-layered. The structure literally bursts at the seams like wax. There are indeed parts sewn into the canvas. Blended into an agglomeration of dark and light colors. Aspects of landscape, sky and light are led through the color combination into an organic-looking overall form. The curved brushstrokes like a cone, from which a colorful butterfly could transform. But they still remain in the state of an undefined organism.

In the work “Hours of Silence” (XI) a salmon swims along almost hidden in moving depths. The body itself was used to apply paint with the soles of the feet still performatively visible. It is possible that painting and noting with the non-dominant hand is also part of this more direct pictorial language from younger, inner parts, which – to summarize once again, depicting humanity in its entirety with rootedness, spiritual orientation and direct expression – is an invitation to the viewer to come into deeper contact with their own humanity and to see the beauty that this process contains.

The human organism is moved by inner alignments and processes.

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