Single White Male

2018, marshmallows, gesso, epoxy resin, unfired clay and chicken wire, 64cm high

Single Black Male

2018, liquorice, epoxy resin, unfired clay and chicken wire, circa 60cm high

Hip Hip Hooray

2020, wine and beer bottles, concrete, brass trumpets, circa 38cm tall

Attention Seeker

2021, watercolour, brass trumpet, oil pastel on paper, 120cm x 80cm

Attention Seeker (closeup1)

Untitled (nun)

2022, fabric and epoxy resin 45cm x 15cm x 15cm

Dad

2021, clay, enamel and epoxy resin, circa 42cm tall

The Visitors

2017, dyed dish cloths, cereal bowls, vintage roller skates and epoxy resin, each circa 25cm long

Loreley

2020, garden spades, concrete, watercolour, dried flowers and epoxy resin, circa 70cm tall

The Venus Man Trap

2022, Used blueberry muffin forms, chicken wire, epoxy resin, concrete,

Rodney (from the “Warme BrĂ¼der” series)

2022, hot water bottle, clay, wool and epoxy resin, circa 32cm x 30cm

Stop embarrassing me

2020, watercolour and oil pastel on paper, 100cm x 70cm

Stop embarrassing me (closeup)

Q&A

2017, watercolour and latex on paper, 125cm x 85cm

WTF Venus?

2018, paper muffin form from eaten cherry-almond muffin, steele and epoxy resin, 34cm high

Housekeeping

2020, peacock feathers and concrete, 60cm x 10cm x 10cm

happy 75th birthday Mickey Mouse

2015, ink on paper, polyester resin, circa 50 x 28cm

photo courtesy of Axel Schneider, MMK

Look Mom, I’m Famous

2008, mixed media collage on magazines
Installed at the Museum fuer Moderne Kunst in Frankfurt

In this series I sabotaged the magazine interviews of famous artists by glueing examples of my own work over theirs, and by tipp-exing out their answers and writing in my own as if I were the artist being interviewed. This is a practise that I return to every now and then.

Open series

Twenty-five attempts to sculpt a vagina from used, blueberry muffin moulds in under a minute

2022, paper muffin moulds, blueberry juice, muffin bits, pencil, watercolour and epoxy resin on wood, 100cm x 70cm

This is not the first time I reference muffin moulds. After eating a blueberry muffin a few years ago, I folded the paper form and put it on my table. It reminded me of the shell from Botticelli’s ‘Birth of Venus’. I recently have become very fascinated in the power of feminine energy and the amazing power a woman has to push life from her vagina. I play with this idea of the muffin form representing a vagina in this work as well as the two Venus Man Trap sculptures

Better Half

2020, enamel, watercolour and pencil on paper, 75cm x 55cm

Untitled

2007/2020, pencil, ink and epoxy resin on paper, mounted onto wood

books that make you think and other books

2012, pencil and collage on paper, 30 x 20cm

rules of survival

2011, pencil and collage on paper, 30 x 20cm

Music that makes you want to hang yourself and other music

2016, oil pastel and pencil on paper, 40 x 30cm

Vaginas

2018, watercolour and pencil on paper, 70 x 72cm

Drinking tea in Russia

2013, Performance video 10min50sec

This performance scrutinizes the Russian prescription of gender to the nouns in its language and the theoretical belief in the realm of linguistics, that the language you speak influences how you see the world. It is set at the fictitious “Fourth Annual Gender Bender Transformation Championships” in St. Petersburg, and follows the transformation of water (Voda) which is feminine in Russian, into tea (Chai) which is masculine in Russian, and back again.

Paris Hilton vs Sigmund Freud

2016, spray paint, oil pastel and plastic alphabet beads on mdf board, 70cm x 50cm

Neighbours

2008, two sewn-together door mats

When I was a student in Frankfurt, a maintenance team cleaned the stairway and corridors of the building in which I lived. Upon leaving, they would prop all the doormats up against the wall so as to allow the floor to dry. Whenever I came home before my neighbour did, I politely placed both of our door mats in front of their respective doors. He, however, did not. So I sewed them together in such a way that when the one was put down, the other would automatically be placed where it belonged.

there’s no place like home

2009, performance

In this performance, I hitch-hiked to Disneyland Paris over 4 days in a home-made Mickey Mouse costume.

Street lamp for an inferiority complex

2011, light and sound installation in public space

commissioned for Witte de With, Center for contemporary art in Rotterdam

a nightmare on Elm street 1 (from the series “unravelling fear”)

2016, collage on archival pigment print, 27 x 15cm