start

zwischen Träumen und Räumen

EN
between
dreams and
realms

// in drealms

mother (2019)
puppeteer (2022)
masken (2023)

Karolina (2023)
Blattwerk I-III (2023-2024)
enchanted forest (2024)
bedling (2024)

Schalen (2024-ongoing)

Erinnerungsteig I & II (2025)
Welt als Küche (2025)
Gelantine (2025)
Oma Helgas Küche (2025)

Das Gedächtnis, nicht nur gedachte Gedanken
Schicht für Schicht, geschichtet zu Geschichten
bewegte Bilder, fragmentierte Fetzen
Scherben von vergangenem
Werden Scherben zu Konstellationen des Ichs, des uns
Durch erinnerte Erinnerung

Ihre Hände zeigten mir das kneten
Nun kneten sie nicht mehr
Sie sprechen für sie
Haut kondensiert zu Zeichen der Zeit
Fließende Landschaften ihres Lebens
Mit Falten und Furchen
Bergen und Tälern

Ihre Hände tragen die Spuren verborgner arbeit
des knetens und rührens
Des schneidens und schählens
Ihrer Sorge und Pflege
Jetzt wird für sie gesorgt

Ich lese sie
Haluziere die Bewegungen ihrer Vergangenheit
Durch mein erinnern
Lebt das vergangene weiter
Überlagert sich mit dem jetzt
Wird zum Fragment
Wird Teil des hier
Und das hier wird teil der Erinnerung
Ich schreibe ein palimpsest in meinem Kopf
Nicht aus Worten
Sondern aus Bildern

Mit ihren Händen sprichst sie
Durch zeigen und deuten
Ich lese ihre Bewegungen
Im Alphabet der Konstellationen
Buchstabierend reihen sich nicht die Buchstaben zu Worten
Sondern ihr deuten erzeugt die Bedeutung,
Das wort

Ein wort für eine ganze Geschichte
Gesprochen durch den Mund eines anderen
Geschichten erzählt durch ihn
Erinnert durch sie
Ist es noch ihre Erinnerung wenn sie ein anderer erzählt?
Wer erinnert da?

Kein Laut, kein Wort kommt mehr über ihre Lippen
Ihr Mund kann nur noch empfangen
Dieser steht offen für Genüsse

as part of a video project

// a container for mother earth, after the idea of Nature failed, and left a dying world

the dying earth manifests in a
a female performer entering her container - coffin and incubator at once

This work imagines a world stripped of fertility, creation, and life. What remains are memories of lost landscapes, traces of species on the edge of extinction, and the ruins of destroyed ecosystems. The isolated species Homo sapiens, eager to control an externalized idea of the living world - Nature -, has forgotten its own organic form. Humanity now understands itself only through the image of the male technocratic scientist and makes one final attempt to revive the dying Earth.

The experiment touches something science and technology cannot comprehend.

“Nature” is left behind, and the once living, fertile world reveals herself as “Mother Earth”, manifesting as a female human being. Inside her transparent container — both coffin and incubator — she reconnects with her own biological state and ecological heritage, remembering landscapes that now exist only in fragmented memory. She lies seemingly lifeless, surrounded by male scientists, who continue to apply the same logic of control and domination to her body as it did to the world for so long.

Something ancient awakens.

Not through technology, but through the last drops of life preserved in the moss on which she lies, she begins to rise. As she emerges, her container ignites; fire spreads, burning mankind and its constructed ideas of Nature to the GROUND, so that from the ashes a new fertile world may emerge.

sculpture, 2024: bedling

I am a HOMEMAKER:

full-time responsibility

the earth is our home
home is a relational feeling to a place, a person, a culture or a community
we have a urge to materialice it. images function as symboles
we depict bounderies to show a feeling of securty, home has a inside and a outside

I am a homemaker.

Not only in the domestic sense, but in an ecological, political, and artistic sense. Because homemaking is not a small or private act — it is a cosmology.

Home begins with the body. As mammals, we sleep, eat, wash, rest. In domestic space we perform our biological functions, and through them we reconnect to something older than society. Home is where we remember that we are living bodies before we are roles or identities.

But home is never only biological. It is relational.

Home is a feeling of belonging — to a place, a person, a culture, a landscape, a community. It exists between beings. It is created through relationships and sustained through acts of care: cooking, cleaning, tending, repairing. These are not banal tasks. They are cultural forms of maintaining life.

Homemaking is maintenance, and it is cosmology.

Creation is never finished. Life continues through cycles of growth, decay, and renewal. A home must be cared for to remain alive. It requires both activity and passivity — both doing and resting. Rest is not the absence of care; it is the condition that allows care to continue. A home is a space where life can act and where life can recover.

To make a home is to create the conditions in which life can continue.

This extends beyond humans. In many Indigenous worldviews, other species are kin — brothers, sisters, allies, persons in their own right. Home is not human-centered. It is a network of relationships. When we garden, when we tend land, when we recognize plants and animals as co-inhabitants rather than resources, we expand the boundaries of home.

Boundaries are part of home. There is always an inside and an outside. We know what home is because we also know when we do not feel at home. But boundaries are not only for exclusion — they create spaces of safety, responsibility, and relation.

Violence exists within life — eating, cutting, killing — but the problem is not violence alone. The danger lies in disconnection: when inner violence and outer violence reinforce each other without awareness, when we act without relation, when we neglect our response-ability. Indifference is the true opposite of homemaking.

To make someone feel at home is to help them feel relation and responsibility — to sense that they are part of a living system and capable of responding to it.

The feminine enters here not as a fixed gender role, but as a historically devalued mode of relation: attentiveness, nurturing, sustaining continuity. Female bodies can biologically carry life, but care is not exclusively female. Care is human — and even more fundamentally, it is a quality of the living. By reclaiming and expanding what has been tied to the feminine in patriarchal culture, homemaking becomes a shared, living capacity rather than a confined role.

Through my work, I seek to reveal the cosmology within the mundane — to create new relationships, to shift perception, to allow a plant, a space, a gesture to become home. Because when we feel at home in the world, we are more likely to care for it.

To be a homemaker is to participate in world-making.

It is to sustain relations.
It is to protect the conditions for life.
It is to create spaces where beings can belong, act, and rest.

That is why I am a homemaker.