Mutter Vaterkarenz Kind
During paternity leave I accompanied my husband and son without interfering as a mother. I noticed how the bond between the two of them grows, especially in times of crisis, and then visited other fathers. They too have decided to take on the care work in the first few months of their children. Not only the happy and complicated moments, but also the never-ending housework are the content of the pictures.The book was published by VERLAG FÜR MODERNE KUNST in 2021. In addition to the images, the fathers have their say in the form of interviews, the photographs are interwoven with short parental leave diary tweets by economist and journalist Peter Sim. A prologue by Sibylle Hamann and an epilogue by the photographer frame the content. The graphic and implementation of the conception is carried out by Mato Vincetić. As a contemporary document, the book offers a male role model, which is still far too little anchored in our society.
Mom cooks, Mom organizes, Mom comforts … During my baby break I made the sad experience that the first caregivers of young people are still almost always women. Fathers appear on the sandbox edge on Friday afternoon and exist as weekend dads. The series, inspired by Cindy Sherman’s „Hidden Mothers“, is an indictment of politics and society demanding a new rethinking of the father image.
„When you turn 30, you still consider yourself young. However, although you don’t see yourself as any different, you become insecure; you don’t feel right still acting like you’re young.“ (Ingeborg Bachmann, Das dreißigste Jahr. 1978) At the age of 31, I reflected on my status quo during a stay in Iceland. One year after my wedding, I was questioning my role as a woman and potential mother in society. For the first time in my life, I was feeling an imbalance regarding my gender and decided to meet some women of the same age to gain insight into their situations. I chose eight protagonists from various socio-economic backgrounds in order to break with common stereotypes. Eight women who were at different thresholds – in search of independence, tackling hurdles that needed to be overcome. The pictures of these women are based on their personal, very confidential stories. But they are also self-portraits. At each meeting, I discovered a bit of myself: recognizing parallels in terms of habits, doubts, and experiences. I created mirror images, drawn with empathy. The resulting map of a generation took a new turn as a result of my impending motherhood, coming into clear focus. Responsibility eases the burden of the unlimited possibilities we are faced with.
A Raisin´s Wonderland
A RAISIN´S WONDERLAND is a visual self-reflection, a psychogram. In summer 2016 I spent six weeks in Iceland during an Artist in Residency. Far away from home I reset my rythm and asked questions of accustomed behavioural patterns and dependencies. The pictures tell about the thin line between childish distraction and repetitive cycles of an adult.
Cape moods for broken bodies
During the residency at Bare Art Centre in Northern Iceland my analogue camera body broke. I rebuilt it out of wood and transparent paper. Looking through the unbroken lens and the rebuilt body I took 16 digital pictures that were reflected on the transparent paper. CAPE MOODS FOR BROKEN BODIES explores the relationship between fragility and the fear of taking alien perspectives.
The leporello provides insight into a few hours of Paulo Santos´ hydrotherapy in the swimming pool at “Centro de apoio a deficientes Luís da Silva” close to Borba in Alentejo, Portugal. Hydrotherapy is a special form of therapy that is applied in waters. Buoyancy is a force that acts against gravity with the effect of loss of weight. Physical qualities of water are used to improve coordination, relax the body, reduce pain and train balance and movements. Water gives our body abilities it is not able to use on lands. Especially for people who are not able to move unlimited that ́s a fact which is of special relevance.
PRE-SENT is a multi media project realised during an Artist in Residency at Obras Art Foundation in Evora Monte, Portugal. Initial point was a material test with wallpaper paste. The location I was offered was a patio giving home to four trees. The calmness of the space that is neither inside nor outside reminded me of an awoken white cube. I visited the patio every hour for a day long and took one photo of a random selected spot on the wall. Afterwards the 24 pictures were printed and glued on the exact spots where they where taken. 24 moments of the 10th of April 2017 were given back as a present to the space.
The installation deals with the travel memories of my grandmother, mother and sister. Collected photographic material serves as mnemonic device. Encountered gaps in the material reveal multisensory memories. ABSENT asks for the potential of photographs to recall memories.
This portrait series is the result of dealing with the visual sense for a long time. INSIGHTS show blind people of different age and gender in their living spaces, both in urban and rural areas. Fragile characters that are however not revealed as blind at the first moment. Due to the knowledge of their surrounding they present themselves as confident and proud hosts.
A human blinks average 18.000 times a day. All blinks summarized result in 75 minutes we spend in unnoticed darkness each day. During a shooting my camera blinks about 150 times. Summarized this gives not even two seconds of exposure. Blinking counterparts meet each other by chance. The collection emphasizes the speciality of a moment in photography.
24 Invisible Hours
10th of February 2011 I spent in complete darkness. My camera handled the task of seeing for me. The choice of the motif and the framing were directed by sounds, the senses of smell and touch as well as of coincidence. Experienced disorientation is depicted in the developed material. It reveals surprises and missed puzzle parts of the day.
Women and their Veils
The series arose for a book collaboration with Petra Stuiber in 2014. It shows women wearing headscarves because of many different religious, traditional and aesthetic reasons. The book „Kopftuchfrauen: Ein Stück Stoff, das aufregt“ was published by Czernin Verlag.
DANUBE refers to Inge Moraths photoessay about the river. In 2012 I took her track and came closer to the rivers history and cultural occurrence. The exhibition project was initiated and supported by Michaela Obermair, Monika Obermeier, Kultur NÖ, Wachau Kultur and the city of Spitz. Documentary journeys for diePresse followed.
SE SOUVENIR is a travel diary. It shows situations all around Europe. Taking photographs is a way of coming closer to unknown situations, people and strange cultural modes. I stay guest but become more than a quiet observer. SE SOUVENIR is a subjective collection of distant closeness.