Ceci n'est pas un tableau abstrait
René Magritte modified

The group of works Transport and Communication looks at the process of creation. The canvas is placed on boxes, paint is poured on and then moved around by lifting the frame. Communication sets in when this process is repeatedly used to allow paints of different colors to overlap and relate to each other, so that the sequential steps of a process-based approach become a spatial experience for the observer.

This raises the question as to where the overlapping should be enacted and in which directions the paint should flow. To answer this question, I make sketches that look like notation, since the most important matter is always to find the right sequence of steps. By applying paint through pouring it, my unconscious is addressed, and the unexpected happens, to which I must react. The options I have to intervene and control this process are limited to moving the canvas. By means of contemplation and conscious dreaming I try to expand this balancing act between conscious and unconscious inferences about the material, which takes the form of images directly and as unfiltered as possible from the unconscious. My painting thus knows no implementation or abstraction, but tries to situate itself directly in the counterparts of my perception so as to create its own reservoir there.

Chinese characters have their origin in the oracle. Pictograms 象形 (xiàngxíng) were scratched onto bones or turtle shells. These media of information were then broken up into pieces and reassembled according to principles of chance. This was a practice to createchance combinations leading to predictions for new thoughts, states of being, or actions. For me, this balancing act between clear legibility, surprising combinations, and seeming contradictions amounts to the philosophy of the total work of art. While 偶 (ǒu) can be animage, a figure, or a statue, 偶得 (ǒude) is a doodle, 偶象 (ǒuxiàng) a brazen image or an idol. 偶然 (ǒurán) is chance, 藕 (ǒu) the root of the lotus.