Having been gifted a classical education in Germany and studying the fine arts, I began my artistic career in oil: expressionist/cubist portraits and abstract works on canvas. Stylistically influenced by Pablo Picasso, Francis Bacon, Robert Delaunay, Paul Klee, Gerhard Richter, James Turrell, Wassily Kandinsky, Mark Rothko and Georgia O'Keeffe, I have participated in multiple group exhibitions in Munich, Germany and worked with art collective SUPER+.

My practice is rooted in a lifelong pull to observe and discover the beauty that surrounds us. How do we interact with the natural world, and do we belong to something larger than ourselves? Exploring these questions has sent me on travels throughout Europe, Asia, India, Africa, and the Americas, searching for answers to the age-old ponderings of humanity.

Since moving to the United States from Germany in 2021, I have deepened my interest in in ancient mythologies around the globe, searching for a source of the archetypes we build within our respective unique cultures and personal narratives. Many aspects from analytical psychology and cosmology are recurring themes in my work, paired with poetic flukes of coincidence and serendipity. By working primarily outside and letting the rain and wind interact with the materials on the canvas, nature is as much a participant in the creation as I, resulting in a work that is richly visual.

Inspired by trees, mountains and the magical landscapes of the Rocky Mountains, my newer work treats this reverence of nature as a sort of meditation: by repetitively placing thousands of dots of metal lacquer onto canvas and integrating them within moody, abstract landscapes, I create modern tapestries referencing techniques such as pointillism, mandalas and action painting. Rooted both in contemporary abstraction and archaic geometric traditions, these works investigate infinity, perception, unity and attention, and oscillate between mathematical precision and organic movement.

I predominantly work with pigment dust bound with oil, acrylic or resin, gold leaf and natural materials such as dandelion seeds, wood chips and leaves, along with nails screws, string and other found objects. Often working on wood, I burn, scratch and char the surface before painting, creating a tactile foundation that subtly interacts with the additional layers.