23h IN-BETWEEN
2026
Seven artist's books
Charcoal, graphite, colored pencil, watercolor, ink, acrylic, pastel, oil pastel and pigments on paper and canvas
Each approximately 43 × 25 cm (closed),
approx. 43 × 60 cm (open)
€8,500
I need drawing to think. Only when charcoal, pencil, pen, or brush glide across a surface does the content emerge. Recording happens in concentrated movement. Observing, collecting, connecting, detours, time. Following traces without knowing their destination. Creating space for contradictions that exist side by side and ask questions without answers. A longing to grasp a thought and lose it again in the doing. The quality lies in being, rather than thinking through reality.
The material consists of texts – excerpts from books, articles, notes, songs, remarks, statements, scenes – everything that pops up during the day and sticks in my mind. Not what is objectively important, but what is memorable. Fragments are captured, then I clarify the content.
This eclectic collection started in early 2025 under the name "23h Zwischenraum". Initially in the evenings, often after the news, it later expanded to include other text and language forms. These are all merely triggers.
I draw to remember the moment with all my senses, yet at the same time this memory has no inherent meaning. It is part of the process itself.
The book format creates space and allows fragments to be arranged side by side. It is practical: it can be held in the hand, stood up, opened, closed, leafed through, and bundles loose sheets.
Here, the binding creates a sequence. It can be dissolved at any time if it serves the structure. Fragments that originally had no connection now relate to each other in a new way.
Text and language have a rhythm - I repeat this rhythm with varying intensity and speed. Writing and legibility change through this repetition. They become more denser, overlap, and dissapear. My question is: How much clarity and intensity is needed to perceive the content?
I allow the material to take its own path and surprise me in the process. Each step of the process is a deliberate and provoked action, intended to make me react. Everything is open-ended.
The pages are worked on again and again - painted over, written on, folded, pierced, sewn, glued, torn, cut up - and always reassembled. Nothing finished is final: cutting, separating, and reassembling create different relationships between fragments, and I don't know beforehand what I will discover.
With this work, I cultivate the wild in its wildness. The pages are carriers of traces. The arrangement develops from the relationships between them. All seven books are unique and created exclusively from my own materials: drawing, painting, and printmaking.
Within the books, lines move as writing, until writing becomes what it is - a line.
In Idris Khan's work, I'm interested in the layering and condensation of text and writing through repetition. My selection of texts is different.
There is a connection to Hanne Darboven through repeated writing, but without her rule-based mathematical system.
Art historical references
In Cy Twombly's work, I am interested in the relationship between writing, line, and painterly gesture.
In William Kentridge´s work, I am interested in drawing as a space for thinking and working, and in the way the process remains visible.
Anna Oppermann is relevant to me because of the open, growing structure of her ensembles and the collection and rearrangement of different fragments.