Art has been with me for as long as I can remember. Even as a child, painting was a natural expression for me - a way of sorting out my thoughts and feelings and making them visible in a way that words often couldn't capture. Over time, I became more and more aware that art is not just a hobby for me, but a necessity. It gives me space to channel and process emotions.
A key moment in my artistic development led to the discovery of my own technique. It was as if I had found a language that only I speak, but that I can still use to communicate to everyone - a way of translating emotions into color and form that flowed naturally out of me. From that moment on, I knew that I had to follow my own path in art.

My biggest source of inspiration is my own emotions. I am a very sensitive and emotional person and often feel moods and energies more intensely. These emotions inside me want and need to be processed so that they don't overwhelm me - and painting gives me exactly this outlet.
But external influences also play a role: nature with its endless nuances of color, the light at different times of day, music that touches me deeply, or encounters with people whose stories move me. Sometimes a single moment, a glance or a melody is enough to trigger the urge in me to create a picture.

My art revolves around the invisible - emotions, inner states, energies. In my “Spirits of Skies” series, I process powerful emotions that unfold both eruptively and gently on the canvas. These works are full of dynamism, they reflect joy, anger, passion or longing. I love to explore opposites - light and shadow, chaos and harmony, stillness and movement.
My “Spaces for the Traveling Mind” series, on the other hand, is an invitation to reflect. It is about mental spaces, about inner journeys that the viewer can experience in their very own way. For me, art has the power to touch people on a deep, intangible level. With my works, I not only want to express my own emotional world, but also give the viewer the opportunity to find themselves in them.

There is a moment in the painting process when the picture begins to speak to me - a kind of silent dialog between me and the canvas. At first there is just an idea, an emotion that I translate into colors. But the more I immerse myself in the work, the more the painting takes over. I love this feeling when everything comes together, when chaos forms a composition.
I find the balance between control and chance particularly fascinating. I work with techniques that deliberately introduce unpredictable elements - layers of color that mix uncontrollably, textures that are created through movement. It is an interplay between targeted control and trusting that the picture will make its own way.

My technique is intuitive, energetic and powerful. I work with different methods of applying paint - from fine glazes to impulsive, dynamic movements. This creates effects that cannot be completely planned, which gives my works their vibrancy.
I could describe my technique as “controlled chance”: I give the colors space to unfold, but at the same time direct them through conscious decisions. This process makes each work unique, as there is always an interaction between intention and spontaneous development.

Both. I often start with a specific idea - perhaps a color mood, an emotion or a musical inspiration. Sometimes I have a rough idea of how the finished picture might look. But once I start, the process takes over.
The beauty of my technique is that I always let myself be surprised. The colors flow, react to each other, structures emerge that I didn't originally plan. The picture often develops in a direction that I wouldn't have expected beforehand - and that's exactly what I love about my work.

The moment when I know that a work is finished is difficult to describe - it's a mixture of intuition, experience and an inner feeling of satisfaction. I look at the picture from different perspectives, step back, let it work on me and feel whether it still needs something or is already coherent in itself.
Sometimes it happens suddenly, almost like an inspiration: I add the last nuances of color and suddenly everything feels perfect. In other cases, it can take longer and I have to consciously force myself to let the painting rest for a while. Sometimes, after a few days or weeks, I see with a fresh eye that something is missing - a contrasting element, an additional layer of color or a soft transition area.
An important aspect for me is that the work does not appear overloaded. Every painting must have room to breathe, both for me as an artist and for the viewer, who should feel emotionally involved in the work.

I find creative inspiration in many areas - art, music, film, literature. I am particularly inspired by artists such as Gerhard Richter, whose abstract works have incredible depth and texture. I am also fascinated by the duality and works of Jeremy Mann, especially his atmospheric city scenes, which seem almost dreamlike.
Music plays a central role in my creative process and is always part of it. It influences my mood, my actions, my choice of colors. I often listen to film scores, such as those by Hans Zimmer and his students, to immerse myself in my emotional world, but I also like loud, energetic hard rock to bring a powerful dynamic to my works. I find these contrasts exciting - just like in my art, where I play with contrasts.
Films and literature also inspire me, especially works with strong visual or emotional impressions. Surreal films like those by Christopher Nolan fascinate me because they play with reality and perception.

Yes, I have a few fixed rituals that help me to prepare for the painting process. One of the most important rituals is preparing my paints. There's something almost Zen-like about this moment - mixing, feeling the pigments, weighing up which colors should work together. It's like a kind of meditative attunement to what's to come.
And as I said, music is important in my studio. I consciously choose a playlist that reflects and conveys my mood and guides my process. As for indispensable objects, there are certain painting utensils that I particularly like to use - some of them have been with me for years. And, of course, a good coffee during the day, or a fine rum or single malt in the evening session.

My works are not based on direct depictions of reality, but rather on emotions, memories and impressions that I experience or process. I don't paint what I see, but what I feel.
Nevertheless, there are often elements from the real world that unconsciously flow into my works. They can be color moods from nature, light effects that have inspired me, or even architectural forms that can be found in my paintings in an abstract form. Sometimes I hide small details or structures that are reminiscent of something concrete, almost like secret traces for the viewer.
But ultimately my art always remains a play between reality and fantasy - it creates new spaces, new atmospheres that the viewer can fill with their own thoughts and feelings.

The titles of my works often come about intuitively. Sometimes I already have a title in mind while I'm painting, sometimes it only develops afterwards when I look at the finished picture and think about what feeling it conveys. I find certain terms that express emotions or moods exciting. The music during the creation process can also inspire me to find a suitable title. 
I usually opt for English titles because English is a universal language that is understood by many people. This keeps my art international and open to a wide audience.

I am currently working on new large-format or multi-part works for my series “Spirits of Skies” and “Spaces for the Traveling Mind”. I am experimenting with new techniques to bring even more depth and energy to my paintings.
A particular focus right now is on exploring color gradients and textures - how colors overlap, how light interacts with certain surfaces. I'm interested in working even more with movement and dynamics in my works to make the feeling of energy tangible on the canvas.
I am also planning a new series that deals with contrasts between light and dark - both visually and thematically. It's an exciting phase full of new ideas and creative challenges.

My goal is to present my art internationally. I would like to exhibit in renowned galleries in cities such as New York, Berlin or London, because these places have a vibrant art scene and an audience that engages intensively with contemporary art.
I find art fairs such as Art Basel or the Frieze Art Fair particularly exciting, as they offer a platform for exchange with collectors, curators and other artists. But I am also attracted by alternative art spaces or unusual locations - places where my art can be seen in a new context.
It is important to me to show my works to people who feel emotionally addressed by my art. I want to create a connection - between my art and the feelings of the viewer.

In five years, I see myself as an established artist with a strong international presence. I want to show my work in major exhibitions, collaborate with galleries and art institutions and reach collectors all over the world.
My goal is to create even larger and more intense works that touch people emotionally. I want my art to be a bridge between emotion and expression, to give viewers the opportunity to find their own feelings in it.
I could also imagine collaborating with other artists or creative disciplines - be it in the field of design, music or digital art. Art is a constant process of development and I am excited to see where my creative path will take me.