You’re currently sharing one of our studio spaces with David Meran and Ismini Adami. Do you prefer shared working space or having place completely on your own?

I would not commit myself — I like both very much. Of course, there are pros and cons everywhere. During my studies I had a shared studio with six colleagues. We found an art association called ‘perlimpinpin’ to work collectively on art projects. We used our space more for exhibitions and events. It was a very important experience but afterwards I realised that I had rarely worked there on my own stuff. This had also probably something to do with the fact that we had no heaters there but especially because working in a collective with six other people can be pretty intense and enervating. Nevertheless, I enjoyed this time very much. I live alone, and I am always very happy when I have other people around while working from time to time and by the way having coffee breaks is so much more fun with someone else. In the new shared studio space it seems to be pretty perfect for me because during daytime I’m mostly alone there, and during late afternoon it is mostly two of us. So it feels like having both of the opportunities.

Having graduated from Transmedia Arts at University of Applied Arts in Vienna, naturally you seem to use a rather wide range of media. Where do you feel the most secure in?

Working in that wide range of media comes from a simple reason: I can’t decide — and I don’t want to. Of course, it goes a little further: the project defines the media. Mostly it is objects which shrink to drawings which blow up to paintings which grow to installations which transform into film which get some fragmented text which dissolve in sculpture — or in a completely another chronological order. In my tiny little body of art, materiality has a strong symbolic character and plays an important role for an intangible narrative. Sculptural installations are mostly broken by poem-like texts and suggest a way to read the story I want to tell. The artworks are made on the basis of my reality but are only really intended for someone else.

My working process always starts with things I am surrounded with and which directly affect me. Then I arrange those things again and put them in a new setting. I see these settings more like scene pictures which open new spaces and levels in which objects and humans go into a common story. However, the result is controlled improvisation and a combination of a series of coincidences that get translated and transferred. Nevertheless, my answer to the question what kind of art I do is mostly: sculpture and a bit of drawing, a bit of film, a bit of painting.