Kopermolen Vaals

Description

Embossing

Embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette was cut out of an aluminum plate. This metal mold was then pressed into the paper under high pressure, creating a relief effect.

For this blind embossing, I used handmade paper that I produced myself. By making the paper myself, hand-cutting the aluminum printing die, and carrying out the printing process, I have created a completely artisanal workflow. The texture of the paper and the relief of the printing die enhance each other and make every piece unique.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and the relief determine the final image.

Story

Intaglio Prints

For me, escapism does not mean fleeing from reality, but consciously seeking peace and stillness. In these intaglio prints, silhouettes of plants and birds invite the viewer to momentarily step away from the hustle and bustle of everyday life. The reliefs only become visible through the interplay of light and shadow. As a result, they demand attention and a slow, deliberate gaze. It is precisely in that attentive looking that space is created for wonder, silence, and a moment of escape.

Description

Embossing

Embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette was cut out of an aluminum plate. This metal mold was then pressed into the paper under high pressure, creating a relief effect.

For this blind embossing, I used handmade paper that I produced myself. By making the paper myself, hand-cutting the aluminum printing die, and carrying out the printing process, I have created a completely artisanal workflow. The texture of the paper and the relief of the printing die enhance each other and make every piece unique.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and the relief determine the final image.

Story

Intaglio Prints

For me, escapism does not mean fleeing from reality, but consciously seeking peace and stillness. In these intaglio prints, silhouettes of plants and birds invite the viewer to momentarily step away from the hustle and bustle of everyday life. The reliefs only become visible through the interplay of light and shadow. As a result, they demand attention and a slow, deliberate gaze. It is precisely in that attentive looking that space is created for wonder, silence, and a moment of escape.

Description

Blind Embossing

Blind embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette is cut out of an aluminum plate. This metal mold is then pressed into the paper under high pressure, creating a relief effect.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and relief determine the final image.

Story

Arum Cordis - The Golden Heart

This intaglio print depicts the silhouette of a man with a cutout at the level of the heart. This cutout is filled with gold leaf and forms the central element of this work.

The work was created as a tribute to my uncle, who was an artist and taught me this unique printing technique. Through this work, I combine the technique I learned from him with a personal tribute to his life, his artistry, and the knowledge he passed on to me.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blend into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for a different time and a different reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

History

These works emerged from a search for another time and another reality. Old silver bromide glass plate negatives, on which people from more than a century ago were only faintly visible, were given new life through the cyanotype process. By subsequently decolorizing the images, combining them with linocuts and prints from old negatives, and assembling them into collages beneath a glossy epoxy layer, the past and present blur into a single whole. The unknown faces remain anonymous, yet invite viewers to invent stories and momentarily escape the reality of the present. In this way, these works form a tranquil form of escapism, in which memory, imagination, and craftsmanship converge.

Description

Composition and Depth: The man stands prominently in profile in the foreground, which immediately makes him the main subject. The background is blurred and more subdued: a barren tree with gnarled branches and the vague outline of a car or building in the distance draw the eye into the landscape without distracting from the man.gndgdhhghdnhnhnghhg

Story

Composition and Depth: The man stands prominently in profile in the foreground, which immediately makes him the main subject. The background is blurred and more subdued: a barren tree with gnarled branches and the vague outline of a car or building in the distance draw the eye into the landscape without distracting from the man.

JJNJNDJNJJDN fdfdfdsffg

Description

Sequence

The Sequence series emerged as a continuation of the material research conducted within the Amorf series. Whereas the Amorf series focused primarily on experimenting with different materials and their interactions, this series marks a shift toward a more graphic approach. Drawing on my background in graphic design, I began working with various printing techniques (linocut, gelly print, and stencils). By combining these techniques with different types of paint and layers of print, series of lines emerged. Throughout this process, experimentation with materials, color, and printing continued to play an important role.

Story

Sequence

The repetition of lines and shapes lies at the heart of this series. The repetitive nature of the prints has an almost meditative effect: the constant repetition creates a rhythm and a moment of concentration and stillness.

At the same time, the lines refer to structures found in nature, such as patterns and codes in our own DNA. The sequence of small elements forms a larger whole and raises questions about connection and the underlying structures that surround us.

Description

Sequence

The Sequence series emerged as a continuation of the material research conducted within the Amorf series. Whereas the Amorf series focused primarily on experimenting with different materials and their interactions, this series marks a shift toward a more graphic approach. Drawing on my background in graphic design, I began working with various printing techniques (linocut, gelly print, and stencils). By combining these techniques with different types of paint and layers of print, series of lines emerged. Throughout this process, experimentation with materials, color, and printing continued to play an important role.

Story

Sequence

The repetition of lines and shapes lies at the heart of this series. The repetitive nature of the prints has an almost meditative effect: the constant repetition creates a rhythm and a moment of concentration and stillness.

At the same time, the lines allude to structures found in nature, such as patterns and codes in our own DNA. The sequence of small elements forms a larger whole and raises questions about connection and the underlying structures that surround us.

Description

Sequence

The Sequence series emerged as a continuation of the material research conducted within the Amorf series. Whereas the Amorf series focused primarily on experimenting with different materials and their interactions, this series marks a shift toward a more graphic approach. Drawing on my background in graphic design, I began working with various printing techniques (linocut, gelly print, and stencils). By combining these techniques with different types of paint and layers of print, series of lines emerged. Throughout this process, experimentation with materials, color, and printing continued to play an important role.

Story

Sequence

The repetition of lines and shapes lies at the heart of this series. The repetitive nature of the prints has an almost meditative effect: the constant repetition creates a rhythm and a moment of concentration and stillness.

At the same time, the lines refer to structures found in nature, such as patterns and codes in our own DNA. The sequence of small elements forms a larger whole and raises questions about connection and the underlying structures that surround us.

Description

Sequence

The Sequence series emerged as a continuation of the material research conducted within the Amorf series. Whereas the Amorf series focused primarily on experimenting with different materials and their interactions, this series marks a shift toward a more graphic approach. Drawing on my background in graphic design, I began working with various printing techniques (linocut, gelly print, and stencils). By combining these techniques with different types of paint and layers of print, series of lines emerged. Throughout this process, experimentation with materials, color, and printing continued to play an important role.

Story

Sequence

The repetition of lines and shapes lies at the heart of this series. The repetitive nature of the prints has an almost meditative effect: the constant repetition creates a rhythm and a moment of concentration and stillness.

At the same time, the lines refer to structures found in nature, such as patterns and codes in our own DNA. The sequence of small elements forms a larger whole and raises questions about connection and the underlying structures that surround us.

Story

Refuge

A tranquil fisherman’s hut emerges from an abstract pattern of painted triangular shapes. The combination of the free geometric visual language and the crisp linocut creates a layering between recognition and imagination. The focus is not on escape, but on the longing for a place of peace and shelter. Refuge depicts an inner sanctuary where silence becomes palpable.

In the pencil drawings, this motif takes on a new form. The fisherman’s hut, perched high on stilts above the water, is no longer depicted abstractly but rather rendered in a strongly figurative style. Using minimal means, a clear and recognizable image emerges of a physical place where tranquility and space take center stage. The hut serves as a concrete shelter, a tangible form of “Refuge” that invites stillness and observation.

Story

Refuge

A tranquil fisherman’s hut emerges from an abstract pattern of painted triangular shapes. The combination of the free geometric visual language and the crisp linocut creates a layering between recognition and imagination. The focus is not on escape, but on the longing for a place of peace and shelter. Refuge depicts an inner sanctuary where silence becomes palpable.

In the pencil drawings, this motif takes on a new form. The fisherman’s hut, perched high on stilts above the water, is no longer depicted abstractly but rather in a strongly figurative manner. Using minimal means, a clear and recognizable image emerges of a physical place where tranquility and space take center stage. The hut serves as a concrete shelter, a tangible form of “Refuge” that invites stillness and observation.

Story

Refuge

A tranquil fisherman’s hut emerges from an abstract pattern of painted triangular shapes. The combination of the free geometric visual language and the crisp linocut creates a layering between recognition and imagination. The focus is not on escape, but on the longing for a place of peace and shelter. Refuge depicts an inner sanctuary where silence becomes palpable.

In the pencil drawings, this motif takes on a new form. The fisherman’s hut, perched high on stilts above the water, is no longer depicted abstractly but rather in a strongly figurative manner. Using minimal means, a clear and recognizable image emerges of a physical place where tranquility and space take center stage. The hut serves as a concrete shelter, a tangible form of “Refuge” that invites stillness and observation.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

Amorf

The Amorf series explores the abstract through organic forms and the act of omission. Without a recognizable representation, space is created for the imagination. Without a recognizable representation, space is created for the imagination. Each viewer can assign their own meaning to it.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

Amorf

The Amorf series explores the abstract through organic forms and the act of omission. Without a recognizable representation, space is created for the imagination. Without a recognizable representation, space is created for the imagination. Each viewer can assign their own meaning to it.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was converted to brown tones. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gelly print. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were mounted on prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

Amorf

The Amorf series explores the abstract through organic forms and the act of omission. Without a recognizable representation, space is created for the imagination. Without a recognizable representation, space is created for the imagination. Each viewer can assign their own meaning to it.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to make out. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

CHANGE 7

Story

Amorf

The Amorf series explores the abstract through organic forms and the act of omission. Without a recognizable representation, space is created for the imagination. Without a recognizable representation, space is created for the imagination. Every viewer can assign their own meaning to it....

Description

Embossing

Embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette was cut out of an aluminum plate. This metal mold was then pressed into the paper under high pressure, creating a relief effect.

For this blind embossing, I used handmade paper that I produced myself. By making the paper myself, hand-cutting the aluminum printing die, and carrying out the printing process, I have created a completely artisanal workflow. The texture of the paper and the relief of the printing die enhance each other and make every piece unique.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and the relief determine the final image.

Story

Intaglio Prints

For me, escapism does not mean fleeing from reality, but consciously seeking peace and stillness. In these intaglio prints, silhouettes of plants and birds invite us to momentarily step away from the hustle and bustle of everyday life. The reliefs only become visible through the interplay of light and shadow. As a result, they demand attention and a slow, deliberate gaze. It is precisely in that attentive looking that space is created for wonder, silence, and a moment of escape.

Description

Embossing

Embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette was cut out of an aluminum plate. This metal mold was then pressed into the paper under high pressure, creating a raised pattern.

For this blind embossing, I used handmade paper that I produced myself. By making the paper myself, hand-cutting the aluminum printing die, and carrying out the printing process, I have created a completely artisanal workflow. The texture of the paper and the relief of the printing die enhance each other and make every piece unique.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and the relief determine the final image.

Story

Intaglio Prints

For me, escapism does not mean fleeing from reality, but consciously seeking peace and stillness. In these intaglio prints, silhouettes of plants and birds invite us to momentarily step away from the hustle and bustle of everyday life. The reliefs only become visible through the interplay of light and shadow. As a result, they demand attention and a slow, deliberate gaze. It is precisely in that attentive looking that space is created for wonder, silence, and a moment of escape.

Description

Embossing

Embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette was cut out of an aluminum plate. This metal mold was then pressed into the paper under high pressure, creating a relief effect.

For this blind embossing, I used handmade paper that I produced myself. By making the paper myself, hand-cutting the aluminum printing die, and carrying out the printing process, I have created a completely artisanal workflow. The texture of the paper and the relief of the printing die enhance each other and make every piece unique.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and the relief determine the final image.

Story

Intaglio Prints

For me, escapism does not mean fleeing from reality, but consciously seeking peace and stillness. In these intaglio prints, silhouettes of plants and birds invite us to momentarily step away from the hustle and bustle of everyday life. The reliefs only become visible through the interplay of light and shadow. As a result, they demand attention and a slow, deliberate gaze. It is precisely in that attentive looking that space is created for wonder, silence, and a moment of escape.

Description

Blind Embossing

Blind embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette is cut out of an aluminum plate. This metal mold is then pressed into the paper under high pressure, creating a relief.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and relief determine the final image.

Story

Intaglio Prints

For me, escapism does not mean fleeing from reality, but consciously seeking peace and stillness. In these intaglio prints, silhouettes of plants and birds invite us to momentarily step away from the hustle and bustle of everyday life. The reliefs only become visible through the interplay of light and shadow. As a result, they demand attention and a slow, deliberate gaze. It is precisely in that attentive looking that space is created for wonder, silence, and a moment of escape.

Description

Blind Embossing

Blind embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette is cut out of an aluminum plate. This metal mold is then pressed into the paper under high pressure, creating a relief effect.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and relief determine the final image.

Story

Intaglio Prints

For me, escapism does not mean fleeing from reality, but consciously seeking peace and stillness. In these intaglio prints, silhouettes of plants and birds invite the viewer to momentarily step away from the hustle and bustle of everyday life. The reliefs only become visible through the interplay of light and shadow. As a result, they demand attention and a slow, contemplative gaze. It is precisely in that attentive looking that space is created for wonder, silence, and a moment of escape.

Description

Blind Embossing

Blind embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette is cut out of an aluminum plate. This metal mold is then pressed into the paper under high pressure, creating a relief.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and relief determine the final image.

Story

Intaglio Prints

For me, escapism does not mean fleeing from reality, but consciously seeking peace and stillness. In these intaglio prints, silhouettes of plants and birds invite the viewer to momentarily step away from the hustle and bustle of everyday life. The reliefs only become visible through the interplay of light and shadow. As a result, they demand attention and a slow, deliberate gaze. It is precisely in that attentive looking that space is created for wonder, silence, and a moment of escape.

Description

Blind Embossing

Blind embossing is a printing technique that does not use ink or paint, but instead involves pressing a mold into the paper. For this piece, a silhouette is cut out of an aluminum plate. This metal mold is then pressed into the paper under high pressure, creating a relief.

Since no color is added, the image becomes visible through the interplay of light and shadow on the surface of the paper. The texture and relief determine the final image.

Story

Intaglio Prints

For me, escapism does not mean fleeing from reality, but consciously seeking peace and stillness. In these intaglio prints, silhouettes of plants and birds invite us to momentarily step away from the hustle and bustle of everyday life. The reliefs only become visible through the interplay of light and shadow. As a result, they demand attention and a slow, deliberate gaze. It is precisely in that attentive looking that space is created for wonder, silence, and a moment of escape.

Story

Refuge

A tranquil fisherman’s hut emerges from an abstract pattern of painted triangular shapes. The combination of the free geometric visual language and the crisp linocut creates a layering between recognition and imagination. The focus is not on escape, but on the longing for a place of peace and shelter. Refuge depicts an inner sanctuary where silence becomes palpable.

In the pencil drawings, this motif takes on a new form. The fisherman’s hut, perched high on stilts above the water, is no longer depicted abstractly but rather in a strongly figurative manner. Using minimal means, a clear and recognizable image emerges of a physical place where tranquility and space take center stage. The hut serves as a concrete shelter, a tangible form of Refuge that invites stillness and observation.

Description

Relief Printing and Drawing

For these works, I used a combination of drawing and relief printing. A linocut was applied to the hand-drawn sketches, with the printing technique serving as an additional layer to the image.

Relief printing is, in principle, a reproducible printmaking technique that allows multiple prints to be made from a single printing plate. In this series, however, the original drawing serves as the base for the linocut. This results in a unique work each time, in which the hand-drawn elements and the printed forms come together to form a single whole.

Story

Refuge

A tranquil fisherman’s hut emerges from an abstract pattern of painted triangular shapes. The combination of the free geometric visual language and the crisp linocut creates a layering between recognition and imagination. The focus is not on escape, but on the longing for a place of peace and shelter. Refuge depicts an inner sanctuary where silence becomes palpable.

In the pencil drawings, this motif takes on a new form. The fisherman’s hut, perched high on stilts above the water, is no longer depicted abstractly but rather in a strongly figurative manner. Using minimal means, a clear and recognizable image emerges of a physical place where tranquility and space take center stage. The hut serves as a concrete shelter, a tangible form of “Refuge” that invites stillness and observation.

Description

Relief Printing and Drawing

For these works, I used a combination of drawing and relief printing. A linocut was applied to the hand-drawn sketches, with the printing technique serving as an additional layer to the image.

Relief printing is, in principle, a reproducible printmaking technique that allows multiple prints to be made from a single printing plate. In this series, however, the original drawing serves as the base for the linocut. This results in a unique work each time, in which the hand-drawn elements and the printed forms come together to form a single whole.

Story

Refuge

A tranquil fisherman’s hut emerges from an abstract pattern of painted triangular shapes. The combination of the free geometric visual language and the crisp linocut creates a layering between recognition and imagination. The focus is not on escape, but on the longing for a place of peace and shelter. Refuge depicts an inner sanctuary where silence becomes palpable.

In the pencil drawings, this motif takes on a new form. The fisherman’s hut, perched high on stilts above the water, is no longer depicted abstractly but rather rendered in a strongly figurative style. Using minimal means, a clear and recognizable image emerges of a physical place where tranquility and space take center stage. The hut serves as a concrete shelter, a tangible form of “Refuge” that invites stillness and observation.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

Amorf

The Amorf series explores the abstract through organic forms and the act of omission. Without a recognizable representation, space is created for the imagination. Without a recognizable representation, space is created for the imagination. Each viewer can assign their own meaning to it.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the different print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

Amorf

The Amorf series explores the abstract through organic forms and the act of omission. Without a recognizable representation, space is created for the imagination. Without a recognizable representation, space is created for the imagination. Each viewer can assign their own meaning to it.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

Amorf

The Amorf series explores the abstract through organic forms and the act of omission. Without a recognizable representation, space is created for the imagination. Without a recognizable representation, space is created for the imagination. Each viewer can assign their own meaning to it.

Description

Although the works in this exhibition are displayed horizontally, they are equipped with a hanging system on the back so that they can also be hung on the wall.

For this series, I worked with old silver bromide glass negatives. Due to their age, the images on these glass plates were barely visible, and the original positive image was difficult to discern. Using the cyanotype process—a photographic technique dating back to 1842—these images were redeveloped and made visible.

Part of the series deviates from the characteristic color of the cyanotype. Through chemical post-processing of the cyanotype prints, the blue color was transformed into shades of brown. This creates a different color image and gives the series its own distinct character.

I further worked on the cyanotype prints using graphic printing techniques, including linocut and gellyprint. By combining the various print layers and materials, new textures and compositions emerged. Collages were then assembled from these prints. These were glued onto prepared MDF panels and finished with a transparent layer of epoxy, which deepens the colors and textures and gives the work a smooth, glossy surface.

Story

Amorf

The Amorf series explores the abstract through organic forms and the act of omission. Without a recognizable representation, space is created for the imagination. Without a recognizable representation, space is created for the imagination. Each viewer can assign their own meaning to it.

Story

These tranquil landscapes depict places in my immediate surroundings, stripped of bustle and human presence. In their simplicity and silence, they create a space to briefly escape from everyday reality. They invite us to wander, slow down, and turn our attention inward. Here, escapism is not an escape, but a moment of peace and reflection. A place where the imagination briefly takes over from reality.

Story

These tranquil landscapes depict places in my immediate surroundings, stripped of bustle and human presence. In their simplicity and silence, they create a space to briefly escape from everyday reality. They invite us to wander, slow down, and turn our attention inward. Here, escapism is not an escape, but a moment of peace and reflection. A place where the imagination briefly takes over from reality.

Story

These tranquil landscapes depict places in my immediate surroundings, stripped of hustle and bustle and human presence. In their simplicity and silence, they create a space to briefly escape from everyday reality. They invite us to wander, slow down, and turn our attention inward. Here, escapism is not an escape, but a moment of peace and reflection. A place where the imagination briefly takes over from reality.

Story

These tranquil landscapes depict places in my immediate surroundings, stripped of bustle and human presence. In their simplicity and silence, they create a space to briefly escape from everyday reality. They invite us to wander, slow down, and turn our attention inward. Here, escapism is not an escape, but a moment of peace and reflection. A place where the imagination briefly takes over from reality.

Story

These tranquil landscapes depict places in my immediate surroundings, stripped of bustle and human presence. In their simplicity and stillness, they create a space to briefly escape from everyday reality. They invite us to wander, slow down, and turn our attention inward. Here, escapism is not an escape, but a moment of peace and reflection. A place where the imagination briefly takes over from reality.

Story

These tranquil landscapes depict places in my immediate surroundings, stripped of bustle and human presence. In their simplicity and silence, they create a space to briefly escape from everyday reality. They invite us to wander, slow down, and turn our attention inward. Here, escapism is not an escape, but a moment of peace and reflection. A place where the imagination briefly takes over from reality.

Description

Relief Printing and Drawing

For these works, I used a combination of drawing and relief printing. A linocut was applied to the hand-drawn sketches, with the printing technique serving as an additional layer to the image.

Relief printing is, in principle, a reproducible printmaking technique that allows multiple prints to be made from a single printing plate. In this series, however, the original drawing serves as the base for the linocut. This results in a unique work each time, in which the hand-drawn elements and the printed forms come together to form a single whole.

Story

Refuge

A tranquil fisherman’s hut emerges from an abstract pattern of painted triangular shapes. The combination of the free geometric visual language and the crisp linocut creates a layering between recognition and imagination. The focus is not on escape, but on the longing for a place of peace and shelter. Refuge depicts an inner sanctuary where silence becomes palpable.

In the pencil drawings, this motif takes on a new form. The fisherman’s hut, perched high on stilts above the water, is no longer depicted abstractly but rather in a strongly figurative manner. Using minimal means, a clear and recognizable image emerges of a physical place where tranquility and space take center stage. The hut serves as a concrete shelter, a tangible form of “Refuge” that invites stillness and observation.