Installations view, 256 glazed ceramics, Karl Schmidt-Rottluff Stipendium. Die Ausstellung, Kunsthalle Düsseldorf, 2019, 14 x 7 m


TXT, Installation of 57 glazed ceramics, Further Thoughts on Earthy Materials, GAK Gesellschaft für Aktuelle Kunst, Bremen, 2018, 16 m


TXT, Galerie Noah Klink, Berlin, 2019, dimensions variable.


TXT, in Drawing Wow 2, Kunstsaele Berlin, 256 x 45 cm, 2020 

Since 2018, I have been working on a on-going serie of ceramics that imitate writing. My intention was to use the confines of language as a communication tool, but to strip it of its purpose. What remains in the end?

"It matters what stories we tell to tell other stories with, it matters what concepts we think to think other concepts with“ Donna Haraway.

This work, titled "TXT," focuses not on the specific "message" being conveyed, but rather on the manner in which a "message" is conveyed and the essence that lies within language as a medium. In this endeavor, I am creating my own language, a tool for thought that is underscored by the use of ceramics. By leaving traces of my hands and body in the form of this "alphabet," I aim to transcend the limitations of the existing language, which feels already predetermined and restricting.

Language, as an immense pre-established construct passed down from generation to generation, has its inherent constraints on the various facets of human experience. To construct freedom, I employ a strategy of alienation, viewing it as a means to create new worlds and break free from existing linguistic norms.

The primary objective is to surpass the boundaries imposed by conventional language standards. The text itself takes the form of 250 lines of ceramic, sometimes individual and at times overlapping or interacting with one another. It resembles a choreographed dance, wherein the structure of the text undergoes transformation as it is "written" on the wall, eventually becoming more liberated and open.

Within this language, there is room for interruption, hesitation, dizziness, echoes, or repetition. Pause and interruption find their place, enabling a more dynamic and expressive mode of communication.

Does this text wish to communicate something that language cannot?
How does the unspeakable express itself?
Why does one make things without purpose?
Does everything have to be useful?
Can we be human without language?
How does one express oneself when one is not a subject?
How do we address the unknown?
Does something else appear when language disappears?
Is it a language, is it a drawing?
How can we write what we cannot express?
Does everything need to be understandable?
When language frees itself from its content, what’s left over?

A sound, fun.

Next project