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Plastic. An unbelievably controversial material: the colours, the texture, the feel, the smell, the transparency, the gloss... and even the negative connotations! The charms of plastic are simply endless, once you give it a chance. Its versatility makes it the perfect medium to reflect our fast-moving times and the emotions, longings and fears they bring with them.

Before I started exploring plastic as a material, I spent a lot of time working with simple graphics programs. I used this software to create black and white letter graphics, which I faxed regularly to friends over a period of several years (1997-2000). By way of this fax art, in which the letters and sentences in my messages did an unruly dance across the paper or were arranged in an idiosyncratic order, I moved on to use plastic to create objects around 2000. Freed from the constraints of paper, these new forms took on their own concrete shape, but the style itself was directly influenced by my typographic art. They represent a continuation of my basic approach, to exploit the potential of the most simple of materials in order to express all manner of ideas.

My first creations were small objects made from snippets of plastic film and wire, which I conceived as a graceful kind of armour for thoughts and emotions: objects the viewer can become absorbed in, on the one hand aesthetically sophisticated, and on the other hand sharpening his or her senses to trigger trains of thought.

Initially, recycling and recycling art were not my primary objective. I arrived at this material more or less spontaneously because it was all around me in all kinds of variations: carrier bags, garbage bags, packaging, office materials, plastic knives and forks, drinking straws, washing lines, photographic negatives, PET bottles... The list is long and each new discovery brings its own inspiration.

In the series Ka|Lei|Do (2001), pieces of plastic carrier bags are tied into metal grids, images of today's prime leisure activity (the art of shopping), coupled with joyous cultural interaction. The various origins of the carrier bags give rise to complex discourses, sometimes with and sometimes without punctuation, which are open to countless rereadings and reinterpretations.
In Cajamo' (2002) and Lost 4 Words (2002), I used the same technique, this time in layers, to express society's mutism and communication deficits. The result is a jumble of letters with no logical connection. Where an A is spoken, the result is an M.

The theme of Plastik Sex (2002) is sexual exploitation. Here, telephone numbers encased in bubblewrap convey ideas such as falsehood, loneliness (each number in a separate bubble, isolated on its own island), unattainability and (self-)deception.

There are as many different themes as there are works. Plastic helps me record the manifold aspects and problems that characterise the times in which we live. It sparkles, it glitters, it attracts and repels, and yet in the end it never loses its pull. Is it genuine? Well, it is certainly genuine PLASTIC.


(Translation: Isabel Edler)

lost 4 words

2002
55x50x38 cm

nuvola rossa

2001
32x62x40 cm

everything repeats itself

2003
diameter 45 cm

synthetisch

2004
40x55x35 cm

archiv (komplex)

2004
dim. variable - as shown: 150x170x30 cm

she_devil_ride

2005
32,5x195 cm

gedicht

2006
dim. variable - as shown: 75x100x30 cm

trying hard 2B square

2006
50x40x13 cm

spyro (black)

2005
2 elements : 16x29x12 cm each

plastic skies blob

2005
30x32.5x18 cm

perfect couple

2004
22x26x10 and 25x25x13 cm

almohada semiconsultada

2005
24x48x16 cm