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Nutrition does not only serve to keep us alive - it’s not simply the intake of essential nutrients - it’s also a social act. It has a strong effect on our sensory organs and, thus, aesthetic value. The gathering (reaping, harvesting, hunting, etc.), preparation, serving, consumption of food are acts that are a part of the aesthetics of nutrition, as is the state of satiety. These can be observed in my works, which are also laced with discrete eroticism.

The starting point of my works were certain items found in the houses of the bourgeois class. These often refer to the topic of food and nutrition in still lifes or nudes. In the spirit of those times, I use reinterpretations of these – the tapestries, icons, ceramics, and porcelain figurines, still lifes which used to adorn the glass cabinets of the houses of the bourgeoisie. These items in the salons were the family valuables, and stood as the symbol of refined taste, serving to designate the social status of the family.

The objects that inspired my works would be considered “kitsch” today, as they were often the adapted versions and provincial transcriptions of works and items from larger cultural centres. I make allusions to pseudo-versions of these items in my work. My attitude toward them is complex. At times I treat them with melancholy by projecting utopian views of the past, the “good old days.” The playfulness of my paintings, art objects and installations is not meant to be overbearing. The nostalgia and mystery that should shroud each piece is at times mixed with a little bit of the macabre. There are no taboos I’d shy away from, and, while you shouldn’t read too much symbolism into a piece, nothing is thrown around at random either.