We are reflections of each other. Data is constantly flooding organisms as confirmation or potential extension of dynamic information networks. The inside is much more complex than the interface. Information and subsequently reality are representations generated by impulses. What is said corresponds to what is heard just as little as what is seen corresponds to what is shown.

Only a small proportion of the world is being processed and an even smaller part is consciously perceived. We are systems of order, incorporating our environment and establishing coherent structures of meaning. Operations of operations result in the impression of a continuous reality.

We are navigating through the mind. The self is barely seperate from the world.

Art’s task is to contribute to evolution, to encourage the mind, to guarantee a detached view of social changes, to conjure up positive energies, to create sensuousness, to reconcile reason and instinct, to research possibilities, to destroy clichés and prejudices. Most people don’t see it that way.


Prisoners of drops of water, we are but everlasting animals.

André Breton / Philippe Soupault


My experimental short film Sinken abstracts the human organism applying the metaphor of a house, which is flooded using digital image processing. Water, animals and plants invade the human habitat and import its natural environment into the building. Nervous systems are permanently exposed to a flow of data, which constitute the construction of a reality. Whenever floodgates open too wide or dams break, the stream of data overflows and water rises up to the neck. A sinking into one`s own reality.

With the flooding most primal instincts are awakened, as with fish eating their own kind. Data can no longer be held in path and bursts forth undirected. All structure of information is lost.

The unconscious is the third narcissistic mortification of humanity. In addition to the cosmological mortification by Copernicus - the earth is not the centre of the universe - and the biological mortification by Darwin - humans are descended from animals - the psychological mortification by Freud states, that the majority of mental processes is unconscious and only a small part is consciously perceived.

Sensation is not the conduction of a quality or state of external bodies to consciousness, but the conduction of a quality or state of our nerves to consciousness, excited by an external cause.

Johannes Müller

Until you make the unconscious conscious, it will direct your life and you will call it fate.

C.G. Jung

Patterns give support and orientation as they have always provided the basis for weighing up and thinking ahead. Life is made up of ordered structures and needs ordered structures to make its realities effective. We tend to make connections, draw conclusions and see links, whereby our patterned thinking is often determined by prejudices and assumptions.


An artificial light source shines from below on natural organisms in urban spaces to emphasise their adaptation to humans. Like a spider, the previous day forms a node in the network of cause and effect. Fragments of a trimmed nature tremblingly strive to reclaim their habitat. Inside is outside, day is night and up is down when angles of vision turn into circles.

The boundaries between dream and reality are not exactly defined. To the mind, it seems almost indifferent whether we are dreaming or awake. It continuously activates a wide variety of visual and symbolic representations being enclosed in the darkness of the body, which provides stimuli during daytime and lets our visions dance at night. Symbols make dreams meaningful.

Our innate sensory perceptions simultaneously provide and limit the possibilities for constructing reality. We generally accept the result of data processing as truth and are often even inclined to regard it as the only real and objectively valid one.

In our nervous system, states of excitation are transmitted in the form of electrical impulses or their suppression. The relation of sensory receptors to the total number of synapses within our nervous system shows, that we are 100,000 times more sensitive to changes on the inside than to changes at the sensory gateway.

Our "Age of Anxiety" is, in great part, the result of trying to do today's job with yesterday's tools - with yesterday's concepts.

Marshall McLuhan


Between blossom and decay, dream images are touched upon without defining a dreamer. Symbolic artefacts generate a system of discomfort. The flower blossoms in order to blossom, the bird flies in order to fly and the eye sees everything except itself. The dream as a balancing act shakes us awake or lets us rest.

As a child I had a repetitive dream in which I was walking through the neighbourhood with my mother and fell into a manhole without a lid. The hole had smooth side walls coloured in different shades and at its bottom sat a monkey who slowly turned its head in my direction and waved at me as I fell. In Nachnacht it is the other way round and the girl waves at the monkey. Anima versus Trickster.

Self-organising systems, in the process of becoming, invent the information and the kind of interconnectivity they need in order to function and exist stably. They generate and condition themselves.

A child growing into a family illustrates this principle. The child finds and invents ways and means to adapt to the family and subsequently to the social and cultural conditions and thus becomes part of the system at the same time.

There is a crack in everything. That's how the light gets in.

Leonard Cohen

The human mind uses a language of its own, which comes before the abstract phonetic and written signs. Human understanding is based primarily on visual impressions. For a long time, illustrations close to nature were the only form of visual information transfer and today's written characters evolved from pictograms and their abstractions.

I see my artistic work as dependent on inner images. However, it is seldom the case that I implement visions I have experienced in advance. Often it is a kind of finding through interaction. Walks and encounters inspire me and certain motifs speak to me on an emotional level. I feel the opportunity for an image that corresponds to me in a literal sense. I see this feeling as an indication of synchronicity and meaning. Why do I choose this way and not another? I feel and recognise that a motif makes sense and is relevant in the context of other images. This creates a palette of material as a starting point for abstraction through editing and post-processing, which then follow similar premises. A cut or a composition must reach me emotionally in order to stand up in the result. I experience this agreement with my unconscious as a realisation of my inner world through the language of art.

Brain from noodles becomes brain from noodles - after eating.

Old Kitchen Wisdom