My work moves in between installation and performance, and is most always audiovisual and spatial in nature. The nature and role of human perception, and individual and collective consciousness, as they are affected by technological advances, remain an essential interest.
My approach is interdisciplinary, connecting fine arts, sound and live arts, and, in longer intervals, also public art. The concept of the Gesamtkunstwerk - the all encompassing universal art form - informs my practice. Architecture, and how our experience of space, inside or outside, is central to our (well) being, is always a concern.
My work routine embraces ephemeral and experimental processes, both by choice and by necessity - the core of digital media (still) being ephemeral and fluid.
I am interested less in experimenting per se but rather in the challenges of the unforeseeable, the unintended consequences of entering unfamiliar territory, and the risk of failure and crisis that are intrinsic part of it.
This early on led to questions about cognitive processes in the human brain, meaning the way in which we take in and digest the world and how we then establish an interpretation of the world that we live in. The nature of this process is always colored by one’s cultural background, education, imagination, philosophy, general mood and one’s individual identity, or sense of belonging.
Looking back on how dramatically the planet has changed in my lifetime, I continue to reflect on changing concepts of nature and artifice, from a post-utopian, post science-fiction orientation. The dynamic process of civilization (or, as the 20th-century German sociologist Norbert Elias called it, the “civilizing process”) has always been a major focus.
I like to think of my approach as counter to the dogmatic, remaining skeptical of any idea that frames technology as the sole path to progress. Fittingly, after a lifetime immersed in digital everything, I stand opposed to the techno-utopian. I am for questioning institutional and cultural frameworks — beginning with the ever more dominant role of digital technology.
As an artist, above all, I am invested in creating authentic and emotionally resonating experiences. I try to make art that is weird, enigmatic, and bewildering at first, but keeps my audience engaged long after encountering it. That is the ideal to which I aspire.
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Photo: Martin Steffen
My approach is interdisciplinary, connecting fine arts, sound and live arts, and, in longer intervals, also public art. The concept of the Gesamtkunstwerk - the all encompassing universal art form - informs my practice. Architecture, and how our experience of space, inside or outside, is central to our (well) being, is always a concern.
My work routine embraces ephemeral and experimental processes, both by choice and by necessity - the core of digital media (still) being ephemeral and fluid.
I am interested less in experimenting per se but rather in the challenges of the unforeseeable, the unintended consequences of entering unfamiliar territory, and the risk of failure and crisis that are intrinsic part of it.
This early on led to questions about cognitive processes in the human brain, meaning the way in which we take in and digest the world and how we then establish an interpretation of the world that we live in. The nature of this process is always colored by one’s cultural background, education, imagination, philosophy, general mood and one’s individual identity, or sense of belonging.
Looking back on how dramatically the planet has changed in my lifetime, I continue to reflect on changing concepts of nature and artifice, from a post-utopian, post science-fiction orientation. The dynamic process of civilization (or, as the 20th-century German sociologist Norbert Elias called it, the “civilizing process”) has always been a major focus.
I like to think of my approach as counter to the dogmatic, remaining skeptical of any idea that frames technology as the sole path to progress. Fittingly, after a lifetime immersed in digital everything, I stand opposed to the techno-utopian. I am for questioning institutional and cultural frameworks — beginning with the ever more dominant role of digital technology.
As an artist, above all, I am invested in creating authentic and emotionally resonating experiences. I try to make art that is weird, enigmatic, and bewildering at first, but keeps my audience engaged long after encountering it. That is the ideal to which I aspire.
Photo: Martin Steffen