Excerpt from the interview «Everything is everything; or, how can I paint to finally see what I have always wanted to

  see?» with Ursula Maria Probst in 2013 («light shapes the shadow» Verlag für moderne Nürnberg, 2013).

  Translated by Lisa Rosenblatt



  In your work Lacan’s secret picture you refer to Courbet’s L’Origine du monde and its history. What

  connection does it have to your painting, that is, to the painting from the “everything is everything” series?
  Yes, the extensive story of the various owners, the long journey L’Origine du monde has behind it, and the still persistent

  socio-political explosive force of this work is naturally a beneficial starting point for all types of thoughts. When I found out

  that Jacques Lacan was among the numerous owners of this work, and that even he—as a person educated in psycho-

  analysis—wasn‘t capable of hanging it somewhere where everyone could see it, but instead, asked his son-in-law to paint a

  surreal landscape, in order to hide Courbet‘s painting behind … I knew that I wanted to serenade this form of masquerade.
  The work Lacan´s secret picture, which is part of the “everything is everything” series, was a concrete product of this


  If you look closely, what heated things up about L’Origine du monde can be found, if need be, in Lacan´s secret picture.

  For this, you chose an everyday object.

  Formally, the entire series refers to the possibilities offered by a plastic back from Vienna’s open air market, the Naschmarkt,

  as model. Almost everything can be shaped from this plastic bag, because the material is soft and yet compact enough to

  remain in form. It was definitely also the transparent realms of this special model that instantly captivated me.
  In terms of content, I was attracted by the idea of setting an object that is as insignificant as possible in the previously
  described dramatic lighting of a chiaroscuro technique formerly reserved for kings, heroes, and saints.