1974 BOXI
1992-96 CSM Foundation and BA Fine Art Painting Degree London
2000 Berlin


2011   TIME OF THE SIGNS – Lazarides, Rathbone Place, London / England
2010   BETWEEN A DREAM AND AN EXCUSE – Buchholz Kunstverein / Germany
2009   THE PROTECTIVE LAYER – Projektraum Viktor Bucher, Vienna / Austria
GREY AREA – Carmichael Gallery, Los Angeles / USA
2008   CUTTING IT – Reinking Projekte, Hamburg / Germany
2007   BUILDINGS AND BRIDGES – Deathless, Berlin / Germany
2006   TRACKS – Maria am Ostbahnhof, Berlin / Germany
NYSTAGMUS – Sanatorium, Berlin / Germany
MY URBAN SOUL – Club Trompete, Berlin / Germany
2005   ROOM KIDNAPPING – Miss Hecker, Berlin / Germany


2014   BEYOND MELANCHOLIA – Sammlung Reinking – Museum für Völkerkunde Hamburg / Germany
EXISTENZIELLE BILDWELTEN – Sammlung Reinking – Weserburg Museum für moderne Kunst, Bremen / Germany
– Wallanlagen, Stade / Germany
POESIA – Werke aus der Sammlung Reinking, Städtische Galerie Delmenhorst / Germany
2012   REBELS AHEAD – Die Kunst Agentin, Koeln / Germany
INTERSECTIONS ON PAPER – Galerie Sherin Najjar, Berlin / Germany
2011   MINOTAUR – Lazarides / Pret a diner, Old Vic tunnels, London / England
TREE HOUSE – Lazarides / Pret a diner, NexTower, Frankfurt / Germany
Von der Heydt Museum, Kunsthalle, Barmen Wuppertal / Germany
10 JAHRE – Kunstverein Buchholz / Germany
2010   BLOCK PARTY – Carmichael gallery, Los Angeles / USA
SCOPE – Carmichael gallery, booth F04, Miami / USA
MONIKER – Art fair with Carmichael gallery, London / England
RE-CREATION II – Ogilvy & Mather + Carmichael gallery, New York / USA
2009   SCOPE – Carmichael gallery, booth 127, Miami / USA
ARTOTALE – Leuphana Urban art project, Lüneburg / Germany
URBAN ART – Museum of modern Art, Bremen / Germany
TENANTS – Remap 2, AD Gallery, KM District, Athens / Greece
2008   PRIMARY FLIGHT – Art Basel Miami, MODART, Florida / USA
CALL IT WHAT YOU LIKE – Kunstcentret Silkeborg Bad, Silkeborg / Denmark
FRESH AIR SMELLS FUNNY – Kunsthalle Dominikanerkirche, Osnabrueck / Germany
2007   RAUM KONZEPT – Miss Hecker in Hinterconti, Hamburg / Germany
URBAN ART AGENDA #1 shed 4 – Victoria Harbour, Melbourne / Australia
SELECTED CUTS – Higher Ground, Adelaide / Australia
2006   ON THE ROAD – Miss Hecker in Hinterconti, Hamburg / Germany



I am not overly concerned with titling my works, as you can probably tell from titles like, “buffer”, “curtain”, “embrace”… it is after all primarily a visual experience that prompts a dialogue with the work. My painting “Peace, Joy ‘n’ Pancakes” which depicts something similar to the ‘Deepwater Horizon’ tragedy, may be an exception, the title translated from a German tongue-in-cheek saying, plays on the fact that everything is far from being alright. An image I create often relies on its own masked ambiguity to be read openly. The images strength in the public space, is its luxury of not being designed first and foremost for the hard sell. It serves me right when I hear people saying to their kids, “oh look, astronauts”, and I am thinking, “they are NOT bloody astronauts”. This sort of misinterpretation of an image such as in “The List”, in which a masked and hazmat suited figure gives instructions over a walkie-talkie, turn out to be a jotted shopping list of dandruff shampoo and chocolate etc, expose our own media tainted association of fear and paranoia. It is this sort of shift in an images weight between earnest intention and pathetic weakness that has influenced my portrayal of the human figure. Ideas for my poses often stem from other painters works such as Caspar David Friedrich’s “The wanderer above the sea of fog” 1818 or Courbet’s “Bonjour, Monsieur Courbet!” 1854 or Picasso’s “Embrace” 1903. It is practically impossible to portray a standing figure that doesn’t relate to some previously documented artwork. I am not possessed with the want for ‘Modern solutions’ as an excuse to still be making figurative painting, but stenciling is and has become for me a practical method in creating handmade, painted reproductions from my photographs. Their creation in the studio, enable the time-consuming detail to be transported and reproduced relatively quickly on virtually any surface due to the reliability and drying time of spray paint. With site specific work, if there is no opportunity to paint a background, my main concern is to create an immediate relationship with the figure, one in which it’s placement creates an event, a dialogue. The life-sized figure opens an immediate channel of exchange due to its own relative proportion to the viewer and due to the stencils scale allows the tool of the spray can to leave its characteristics of gestural dust or fill in the stencil, unlike the more mechanical flat pull of a silkscreen. At the time of creating the images of the maintenance workers Berlin and the area I live in was under going a massive renovation spurt, I felt as if they needed to be documented, to also briefly become part of the changing city. My choice of image hopefully retain a collective sense of who we are and how we are affected by the times we live in.