Page 25 - Winter Issue

Your early video performances, starting in 2005, reacted to the virtualization of social reality. How do you
feel this shift has evolved, and how has it influenced your more recent work in printmaking and screen
printing?
In 2005 people just had simple mobile phones without a camera and internet access, what we call “smartphone” did not
exist. “AI” was not part of life. Today a great amount of internet traffic is created by bots and social media has become a
platform for personalized advertisement. In my work in printmaking I start with screenshots - taken with an open-source
program - using an open-source web browser, run on a computer with a Linux system. DuckDuckGo is a search engine
that does not track you, the logo appears in my CMYK masked blue chips-series, as well as another logo that looks like a
little bird. In the meantime, this little bird was - metaphorically spoken – killed, crossed out, deleted, and replaced by a
letter that looks like a cross.
Masking seems to be a recurring theme in your work. Can you elaborate on how you interpret "masking"
across different mediums and why it resonates with your creative vision?
Masking includes ambiguity. Different mediums have different possibilities.
You’ve studied under influential artists across Europe. In what ways have their teachings or critiques
shaped your practice, and do you incorporate aspects of their approaches into your current work?
My diploma was in 2005. I started screen printing in Berlin after my studies.
Screen printing has revolutionized painting, as you noted, and you incorporate a performative element in
each print. How does your approach to screen printing balance between the traditional technique and
your performative, conceptual process?
The traditional printing techniques are manual printing processes. These Artistic printing processes of relief printing,
intaglio printing, planographic printing, and screen printing and their hybrid forms have been part of UNESCO's
Intangible Cultural Heritage since 2018. My performative, conceptual screen printing process is manual work with a
hand-pulled squeegee and so offers possibilities for an experimental approach.
You reference Henri Focillon’s concept of the "poetry of action" in your hand-pulled silkscreens. How does
this idea of "poetry" play into your artistic process, particularly when using stencils of iconic works like
Gentileschi's Judith Beheading Holofernes?
I do not plan the process and do not know in advance what each unique will look like. I just do it. The stencil with
Gentileschi's “Judith Beheading Holofernes” is a detail with URL and drapery. A single stencil that I use to print yellow,
magenta, and cyan at different angles. My printing process is playful and more like painting. Sometimes I choose a small
squeegee to pull a freestyle move. It is not an edition with identical prints, that would be a different way of working.
As an artist who has worked in multiple locations—Munich, Berlin, and now Vienna—how have these
diverse environments influenced the direction and themes of your art?
Themes in my art are general.

Artemisia Gentileschi, Judith Beheading Holofernes_023 Artemisia Gentileschi, Judith Beheading Holofernes_004
Silkscreen print on paper, 70x100cm, 2023 Silkscreen print on paper, 70x100cm, 2023

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