With "Anker" (German for "anchor") MHTS exclusively shows for the first time a broad collection of her recent works centering around the connection of the soul to art itself. Art as being an anchor for the self, structures to hold onto, to immerse in, to dissolve in. Art as being the physical manifestation that reflects the essence, the diffuse within us without the limitations of linguistics. Abstract lines mirroring that for what there are no words, complex structures depicting powerful constructs beyond expression.
How did it all start? Was there a significant event or was it more a continuous progress that brought you to what you are doing today?
It definitely was a continuous process, starting somewhere in my early youth, fostered through intensive art lessons in and sometimes out of school and my own interpretation of doing art as recreational activity. I’m glad that I never stopped producing something – by now I think, it’s not possible at all, not to engage in creative activities, because it is a part of me and my way of living.
Where does your Artist name come from?
Very simple and not transfiguring at all: The initial letters of my pre- and surname. From my perspective, there is no need for a special or mysterious meaning – it’s just me, pretty much like my art reflects a certain part of me. What I also like about it is, that you cannot extract from it immediately, if the artist is male or female, because this shouldn’t matter.
What does it mean to you to create your art?
For me it brings a lot of joy to see what I am capable of. As I will state below, I often don’t know what the exact outcome of a creative process will look like and then I’m often positively surprised. Besides I enjoy a special feeling of connectedness while painting and I like how the process of making art influences my way of seeing things in the sense that there applies a slightly altered form of consciousness. Very hard to explain. Also, the mere process of setting brushstrokes helps to become more aware of the process of “acting” in general, in daily life. Often we are not aware of all our actions, we don’t connect every “happening” to our own actions, even if there’s a dependency. Would probably overwhelm our brain, if we would act on this level of consciousness in every single act.
Last but not least I am very pleased, if others can draw something from my art, if it will fill them with joy or reflectiveness.
What would happen if one would prevent you from doing art?
In fact this is already happening and I don’t feel comfortable with it at all. I’m currently trying to finish university and need to work in two different jobs to finance my studies. There’s way too little time for doing art at the moment, even though there are plenty of ideas waiting to be implemented and I hope that this situation will change after my studies are finished. If you are a creative human being and are prevented from being creative, you’ll also loose a bit of your creative energy. It’s not only a certain amount of talent and courage, it’s also like a muscle. If not trained and fueled, it will slowly deteriorate.
Where are you drawing inspiration from?
As the form of my art is not conceptual (until now, might as well change in the future) and the motives emerge from a rather subconscious level, I cannot state that it would be inspired by something specific. Emotions play a big role, as they influence the shape of perceptions and actions. Music can also influence the drive of creating. For example: While painting the large-format painting that will also be part of the current exhibition, I was listening to Gojira a lot. Extremely superficial answer, but unfortunately true. If I knew better what influenced me to do a certain piece of art, I would be in the position of better control regarding my creative process. Unfortunately, this is not the case and I often feel extradited to whatever it is that inspires or drives me. For study reasons I recently traveled a lot to Ukraine and always when in Ukraine I have a very, very strong desire to paint, but I don’t know, where it exactly comes from. Maybe it’s just some sort of “existential” feelings that foster all creativity.
Are there some certain principles or guidelines you apply when creating a new piece? Not only with regards to your art itself but also to the environment you create in, your surroundings, the atmosphere?
Guidelines are depending heavily on the art form. For creating pure abstract art, I often stick to the principle of equilibrium, that is arranging contrasts, colors, distinctive structures in a way that they balance each other, if possible, perfectly. Painting can become a form of meditation when applying those principles. On top, I like to paint with my fingers and hands instead of using pencils, but this can only be done up to a certain amount, when your skin starts to go on strike.
I’m also doing something that I would call “half-figurative” abstract art, where you can sense some elements that look like known objects, for example in the series where photographed a concert in an abstract way (“painting with the camera”), printed those photos on canvas and strengthened the visible structures with paint afterwards. While doing this, there’s a dialogue between me and those structures, that are already there. Environment is not that important, but I need to be sure to have some hours that are reserved for creativity only.
What do you feel when you create?
Somehow catapulted out of the world. At least, if I can manage to immerse in that sort of creative flow, I feel a very deep connection to myself that is absolutely non-dependent on the surroundings. I blank out everything – in such a state of mind there might be unpleasant noises, people or whatever around that might be disturbing, but they don’t affect me anymore. I am self-engrossed, centered and concentrated. Sometimes I want to have an influx of inspiring music and simply put my earphones on and let the music guide my painting to some extent. This reflects somehow another dimension of understanding regarding the mood that is being transported through the music. That’s why I thought a lot about painting live at concerts, but so far there has been a lack of time and opportunities to implement this project.
Why are you doing what you are doing? What is the purpose behind? Is there a grand philosophy behind your art?
At the moment I would lie if I said that there’s a grand philosophy behind. Especially because my approach is very diverse and does not aim at something specific. The only series, where I can sense a certain purpose by now is the “Kaleidoskopie”, because those pictures are able to transport a very powerful energy and can have a transforming effect on the spectator – even if this was not the aim while creating them. But in general, my art is just one way of expressing myself.
What drives you creating?
That specific creative energy I was talking about before. Sometimes it feels like it gathers inside of me like a real amount of “something” that needs to be processed. What also drives me is the anticipation of the feeling while creating a piece of art (see also above). I want to feel that connection and that’s why I start creating. But I have to admit that it’s not always working this way around – often it’s not possible to bring about this creative flow violently. Then I have to wait until there’s again enough creative energy or impulse.
What is also true is that I never start creating because I want to get a specified result – a pure realization of an image that I first had in mind. This is not how it works for me. Pictures evolve while creating them, so my art is very process-oriented and not realization-oriented. Sometimes this is a disadvantage regarding motivation. Because I never now exactly what I’m going to create, it’s sometimes hard to stay motivated and blindly believe that it’s going to be something satisfying.
What did you always wanted to tell about your art but nobody asked the right question?
That pieces of art might change their inherent meaning over time. Some years later you look at something that you created and might feel completely different about it. New layers add to what you’ve seen before. Because we are beings that continuously learn and change and that’s why I often don’t like to stick to cemented interpretations in the first place. Context is important, so are mind sets and ideas. Sometimes I rework paintings, years after I created them.
Once I even destroyed almost all paintings I created until a certain point of life – I literally shredded them, but kept the pieces and after some time passed, I reassembled them. The outcome was a very huge and complex assemblage, way more elevated than the single pieces it was made of. So, sometimes you have to destroy all existing to pave the way for something better.
But what I can also definitely state is that – despite the possibility of changing views over time – in some pieces you can also sense an understanding on a deeper level which particularly applies to certain pieces of my abstract art: Especially in the “Kaleidoskopie” you can feel a continuum of forms and meanings that are somehow universal. In the sense that they are so elementary that people feel the same about them. At least this is what I perceived until now.
To sum up: So far I didn’t settle for one form or way of doing art, so there are different approaches and ways of interpretation depending on the piece that you’re looking at.