Braunschweig, 2000 /Taipei, 1991/Hamburg, 1999/Minsk, 1992/Hamburg, 2000/Sichuan, 1995/Kassel, 1985/Tokio, 1994/Aurich, 1993/Guandong, 1995/Shandong, 1995/Bremen, 1996/Hamburg, 1994/Bremerhaven, 2001

We are used to going to the ‘outside’ and with the help of the equipment, we take artefacts into the studio to work on them. With the ‘outside’, our approach has changed. Things that we took for granted have become dangerous, hostile. The physical and the mundane, we have been thrown back with full force on the absurdities, new constraints and urgencies that all of a sudden define our lives. The search for expression is a search for localisation in the world. How can this be achieved in a world of inexperience? How can a young artist consider that things may never be the same as they have never been for us?

Although life has slowed down, we have to think ever faster if we want to make our artistic practice visible: forced acceleration of ideas and sketches, as we are shooting on a moving target, every day the numbers, the accesses and the audiences change.

The art spaces are closed, the public has been suspended. What remains is the digital, or the temporary use of the deceased places of consumption permitted by the investor. This permission is to be used subversively. A drawing of what could be when it becomes again, as it has not yet been.