Collecting, selecting, segretating and rearranging things have always been the most interesting activities I have been doing, even when I was a small boy.

Years later, it hasn't changed, although it might be more serious now. My paintings do not depict a longing for my childhood, nevertheless strategies can be childlike.

Control is a central topic of my work; subdividing into various aspects such as safety, sexuality, conditioning, progress, (self) reflection, etc. The relevance of the theme is increased by the fact that people living in the 21st century are still subject to growing complexity and inevitable perils, as a consequence of being dependent on the decisions of authorities. Safety however, is a basic necessity which must thereby be satisfied through substitute actions, which I call surrogate activities. These surrogate activities can again cause danger and consequently form a circulus vitiosis, which is nourished by powerlessness resulting from involuntary passivity.

My older works are often an absurd attempt to expand the range of images of political and instrumentalized art by innovative components, particularly with respect to sexuality. Due to that fact, some of my works are intended to reveal elements of socialist wall paintings. Such paintings purport mirrored fictitious anti- hero types who represent states beyond the real that should be but are not. In other words they depict a denial of reality. Furthermore, they correlate politically instrumentalized art, politically empty street-art as well as the mendaciously conventional idealism of the Eastern bloc and the meaningless decadence of consumption. A sexual component is permuting in the background, far from trends and ideologies.

In contrast to these earlier works, my more recent paintings are characterized by subdued colours, showing reminiscence of old masters. They are also to be understood as open works of art in the context of contemporary painting.