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



   During your exhibition at the Kunstraum Bernsteiner, with a picture performance you offer the audience
   the possibility to experience precisely this visual transformation, live.
With the performance, I wanted to give the people who visited the exhibition another possibility to enter into dialogue
   with my work. As less light falls on these works, they become more abstract, because only the brightest
   spots remain visible, which, once again, leads to a radical rearrangement and transformation of the possibilities
   for perceiving the content of the image. You can’t see that these works are able to carry out this transformation when

   the light is steady—it is information, potential, that is inherent in them, which only becomes visible through an external

   intervention. On the other hand, another option can be found in the absence.
   I think that I’m fascinated by everything that isn’t visible immediately, but instead, unfolds and divulges itself bit
   by bit.

   During your picture performance, you changed location. You carried the painting from the exhibition
   context into an adjacent shed.

   By carrying the work away from the exhibition space and into the adjacent shed and hanging it on the wall during
   the performance, a process of dehierarchisalization took place; in the sense that the painting was removed from
   the exhibition space and made part of a space that is not designated for art in the conventional sense.
   Richard Sierra once said that if you were to remove one of his works from the halls designated for them, then
   that would equal a destruction of the work. OK, Sierra’s objects and installations are sometimes huge, and they
   need suitably large spaces. But now, apart from Richard Sierra, the question comes up of whether an artwork can also

   exist autonomously, apart from a space, and if so, how.