What are you working on at the moment?
On the moving tree as camouflage.
Who or what has influenced you in your work?
Looking at puddles. Mirror, gloss, projection, exhalation, vanishing.
What artwork do you return to again and again?
The riding prince on the horse by Velásquez (›Equestrian Portrait of Prince Balthasar Charles‹). As a 12-year-old child I found this illustration in a book titled something like ›100 Masterpieces‹ or so. I was fascinated by the horse and copied it with watercolors on a DIN A3 sheet. This piece still exists. When I was 23, I visited the Prado for the first time, and I was thrilled by this sort of exceeding appropriation. The original fascination that prompted me to copy this work was with the flying horse in the landscape, this overcoming of gravitation.
What would you do if you weren’t an artist?
I would paint.
What are you reading or listening to at the moment?
Over a long period now, I am reading ›Studies on the Germans‹ by Norbert Elias, recently ›Spitzenreiterinnen‹ by Jovana Reisinger; I am interested in the constraints here. Now I am facing Marcus Steinweg‘s new book, ›Quantenphilosphie‹. As for listening: Robert Hood’s ›Internal Empire‹, but this is a very old one from the 90ies, Madlib’s ›Sound Ancestors‹, so wonderful and detailed, and ›9‹ by Lil’ Kim, though I prefer her album ›Hard Core‹.
What should art today be able to do, in your opinion?
Presence (needs absence).
What aspect of the pre-pandemic world do you grieve—and what things do you not miss at all?
When thinking of the pre-pandemic world, I grieve for unsupervised thinking, less so for a sky populated with countless aircrafts.
If you had to sum up your work in one word, what would it be?
Do you have a daily ritual?
Every evening I sit down with a small glass of wine and listen to my Tannoy Yorkminster [a brand of high-end speakers] and I fall in love with humanity again.
What art or culture-related events do you look forward to in the near future?
To go and see art and culture without timeslot, without booking, without registration, without. . .