Stork family from Zehdenick, 70x145cm, woodblock, 2022
Umwelt, 145×116, woodprint on clothing with butterfly and branch, 2022
Ash Flower, 51x64cm, Woodprint on clothing with ash, pigment and flower, 2020
Where is the sheep 3, 40x60cm, sheep wool on metal grid, 2022

The series examines the interrelationship between animals and their environments. Every animal exists within a habitat, and the artworks visualize this interconnected structure of existence through artistic technique, material choice, and representation. For example, by dissolving the outline of a sheep’s body, it merges with the background—simultaneously representing the living being and its environment. By carving into wood and using a monochrome pa- lette, foreground and background meld together, integrating the stork’s form with its surroundings. Hiding the corpse of a butterfly within the folds of printed tissue and layering textures over it further dissolves the separation between the individual and the whole.
Additionally, the series challenges the usually two-dimensional, flat form of the woodprint by using woodcut as the basis to create ob- jects or textured paintings. In doing so, it bridges the gap between graphic arts and other artistic techniques, opening up new possibili- ties within the field of printmaking. These experimental approaches also aim to be eco- and animal-friendly

Stork family from Zehdenick
Stork family from Zehdenick (2022) is a woodcarving out of an old door, measuring 70x145cm.The work depicts a stork in its home, a human-made nesting place in Zehde- nick, Germany. By showing the animal within this specific environment, alongside its home, food and family, the piece conveys the presence of the stork as a fleshly being. The stork emerges from its surroundings, without which it cannot exist without. This interrelation is visually reinforced by carving the figures directly into the wood plate. Rather than being applied onto a surface, as in some drawing- and printing techniques, the imagery is embedded within the material. The use of black as the only color further connects the single beings with their surroundings. This way, the wing and the beak disappear in the black grass and house wall.

Where is the sheep 3
Made from sheep‘s wool and a metal grid, this piece juxtaposes the organic roughness of the wool with the geometry of the metal. The square format contrasts with the texture of the wool, simultaneously revealing a sheep‘s presence and confining it within the rectangular structure of the grid. It is made in 2022, measures 40x60cm.

Umwelt
Umwelt (145×116, 2022) consists of printed clothes stretched on canvas, two butterflies and a branch. It experiments with printing on different surfaces, the combination of raw and processed materials and the integration of animal carcasses. The stretching of the fabric creates folds that add texture and partially obscure certain ele- ments, such as a butterfly hidden in a fold. Openings in the fabric allow glimpses of the background.

Ash Flower
This work incorporates raw materials into printmaking, layering ash, earth, pigment, flowers and gypsum over a woodblock print on fabric. It was made in 2022 and it is 51x64cm large.