Page 116 - Winter Issue

You've exhibited in both physical and virtual spaces. How does audience interaction differ in these
environments?
The physical space is still best, as there is less distance to the artwork. The exchange is more direct. However, I have
found that more people can be reached online and the barrier to viewing an exhibition is less significant. I think a
combination of both is ideal.
Do you think an artist's personal experiences should be central to their work, or should art transcend
individual perspectives?
Great art goes beyond the individual state of mind of an artist. However, there may be aspects that are personal in
nature. Nonetheless, a good artist should have the freedom not to reduce themselves to that. At least that's how I feel.
In recent years, you've received awards and exhibited internationally. How have these experiences
influenced your artistic direction?
They empower me. Despite all the adversity in current events, I remain steadfast and always try to evolve, no matter
what happens. I couldn't bear to fall into a rut. Cultural diversity is so enriching and I really enjoy making discoveries. In
big and small ways.
Looking forward, what are your aspirations for the PortLand series, and are there other themes you're
interested in exploring?
Currently, I am working on the fourth part of the PortLand cycle: “Seasons of PortLand”. I think that the seasons can
show how humankind and nature belong together. Many questions and observations from the present and the past
contribute to it. Among other things, it is about recognizing contradictions and about something particularly important
to me: reconciliation and consistency.
How do you view your art's impact on viewers? Do you hope to inspire reflection, action, or something
entirely different?
First and foremost, I want viewers to be able to engage with the work openly and with curiosity. This is not a certainty
from the outset, since, especially when it comes to abstract art, many details are not immediately visible. It's like a good
sonata: it has a playing time, so you have to listen from beginning to end to understand the meaning of the piece. It
works the same way with paintings: the experience is not complete at first glance; pictures are like stories that you first
have to decipher. Ultimately, however, I have no control over what the viewers make of them.

Happiness Remains Included
Oil on canvas,
75x50cm, 2021

Stay Put With Happiness
Oil on canvas,
75x50cm, 2021

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