BIOGRAPHY
studies
2014–2015 pre-studies at art school “tube”
2015–2018 studies of free sculpture in class Marko Lehanka at Academie of Fine Arts Nuremberg
2018–2021 studies of free art in class Heike Baranowsky
at Academie of Fine Arts Nuremberg
2021 master student award from Heike Baranowsky
exhibitions and prizes (selection)
2015 „Wunderwoche“ in the old Post Office Nuremberg
2017 „Going headless“
2018 „Im Zeichen der Gänsehaut“ curated by Ellen Blumenstein
2019 prize of the Academie of Fine Arts Nuremberg
for the performative experience „intensional alexithymia“
participation „system wardrobe“ in Bauhaus Dessau Foundation at Bauhaus Museum Dessau opening „Festival- Stage-Total-100 Jahre Bauhaus“ curated by Torsten Blume
performance „lim“ at Young Urban Performances Festival Osnabrück
2020 photographs of „intensional alexithymia“ with BfK at the museum Plassenburg
2021 exhibition “conditions of necessity” with the collective DAF at Kunsthalle Baden-Baden
2022 installation with the group treibgut in Kassel at documenta 15
2022 participation art fair Unika val Gardena in the castle Franzensfeste in Italy
surface
participation:
round 15 min, privacy file, program,
camera, screen; 2022;
object: 170 x 120 x 50 cm, computer, camera, screen, metal frame, keyboard, cable; 2022;
involved in process 2020 bis 2022:
Andreas Bauer - programming doctor, Oliver Mayer - programming engineer;
surface
Every laughing, every sensation changes the aura of one person. Individual mimes sign parts of a multifaceted expression for your counterpart. The entire image defines the individual. The emotion has a common social meaning, which is immediately and intuitively apparent. It is simultaneously determined by subjective moves.
Each single frame is temporary, ephemeral, and difficult to permeate. It disappears and is replaced or it is only interpreted in ambivalence.
In the work “surface” the uniquely sensation is captured. The image signs a moment of expression. Temporality is reflected in the pictures surface.
What does our face reflect about ourselves? Which sensation is visually shown? Can the emotion be directly recognizable in all movements? Or is the face motionless, without any statement about itself?
Selfcontrols and presentation are daily influencing the visual appearance. The individual image of ourselfs changes our face along general lines, whereas emotions are changing the image to the smallest detail every day.
The work analyzes the face based on a temporary record of the human being. Mimes are captured as well as the character of the individual. Lines around movements and facial characteristics mark the subject.
Distances between lines and facial edge points construct values, which are in relation to emotions. The subject is categorized in evaluations. The value and its numerical designation provide information about the degree of mimic distortion and individual characteristics.
Finally, the interpretation of the participant requires to understand the subjective evaluation. Temporary changes are related to the situation and the social environment. The variation in action as well as their inter- pretation provide a great field of knowledge about judgement in society.
The partcipant enters the space of interaction. If she*he decides to participate the action, she*he must sign a privacy form.
The face is going to be traced, detected and photographed. Distances between facial edge points are mesured and classified into a system of characteristics. The new distances are relating to normal values of previous participants.
Finally the participant is rated according to the the big five personality model from Mc Crae and Costa.
Contentwise, the characteristics refer apart from mimical interpretations to proverbs from the past, to stereotypes from the present time and to aesthetic analysis from the area of fashion and marketing.
During the evaluation participants are acting in different ways, which relate to their personalities. Therefore, each process of action is unique.
