BIOGRAPHY
ACADEMIC CAREER
June 2014 Disputation to achieve the academic degree PhD, art and design, Bauhaus University, Weimar
2009 – 2013 Doctoral studies, Bauhaus University, Faculty of Design – Art and Design_PhD, Weimar
1998 diploma thesis, Würzburg University of Applied Sciences
1996 – 1997 study visit, Arcos – Academy for Photography, Santiago de Chile
1993 – 1998 studied communication design/photography, Würzburg University of Applied Sciences
PROFESSIONAL BACKGROUND
since 1998 freelance photographer
1999 – 2012 Photographer representative office, Rockenfeller and Göbels, Düsseldorf
2004 Stay abroad USA, Internship – Photographer – Ken Botto, San Francisco
1988 – 1991 training as a photographer, Würzburg
TEACH
since 2021 art teacher and head of department, FOS design, Pennigparade, Munich
since 2020 teaching assignments, institute for art education, art teaching course, LM University Munich
since 2020 teaching assignments, Institute for Art Education, course Art and Mulimedia, LM University Munich
2019 WiSe, guest lectures, photographic documentation, art and multimedia, LM University Munich
since 2015 regular workshops in my own studio, Munich
2014 – 2016 lecturer in photography, bachelor’s degree in graphics/design, 5th semester, Diploma University of Applied Sciences, Munich
2008-2021 lecturer and head of the photography department, DPOP – Academy, Munich
2009 – 2011 teaching position at the School of Fantasy, Munich
1995 -1997 tutor, photography department, Würzburg University of Applied Sciences
CV
FUNDS and SCHOLARSHIPS
2021 Appointed member of the German Society for Photography DGPH
2020 Artists’ Residence, Ryad, Morocco
2017 art grant, 1st prize, photography in public space, Spiekeroog
2017 project funding, culture department, Würzburg
2016 Artist Residency, Panama, funded by La Wayaka, London
2015 Advancement Award, Stiftung Kulturwerk der VG Bild-Kunst, Bonn
2014 project funding as part of “global art”; Cultural Department, Munich
2013 Doctoral completion grant from the Bauhaus University, Weimar
2012 project funding as part of “global art”, Goethe Institute; Accra/Ghana and GiZ
PREISE
2021 Photoaward, 1. Preis in Abstract, FMoPA, Museum of Photographic Arts, Tampa, Florida
2020 Winner, Artist of the year, Itsliquid Group, Italien
2019 Honorable Mention in Abstract, 12th Annual International Color Awards, Beverly Hills; CA
2018 Silber „Gusarmalo“, Deutscher Fotobuchpreis 18 I 19, Hochschule der Medien, Stuttgart
2018 Nominierung in Porträt, 11th international Color Festival, Beverly Hills, CA
2017 Honorable Mention in Abstract, 10th international Color Festival, Beverly Hills, CA
2016 Photoaward, 1. Preis, Hoepfner Stiftung, Karlsruhe
2015 Nominierung, internat. Festival für Reportagefotografie, Schömberg
2015 Nominierung in Fine Art, 8th International Color Award, Beverly Hills, CA
2014 Sonderpreis, B/W Classic Award, Tetenal;, European
2013 Nominierung, Kategorie Portrait „Felix Schöller“ Photoaward, Osnabrück
2012 Photoaward „Schnittmenge M“, 2. Preis, Stuttgart
2012 Photoaward, 2. Preis „Fotografieren ohne High Tech“, Münster
2001 Nominierung internationales Fotofestival Knokke-Heist, Belgien
1999 Photoaward „Reinhard Wolf – Preis“, Auszeichnung, Hamburg
1998 Photoaward, 2. Preis „Zweisamkeit“, Nourypharma, Nürnberg
STATEMENT
Basically, I pursue two photographic perspectives in my artistic work. One concerns seeing and the situational reaction to external processes, for which I use digital photography.
On the other hand, I work analogously, with the camera obscura and sheet films as recording media. This allows me a technical flexibility in generating images that cannot be implemented through digital photography. In contrast to the former, these images are initially created in the mind and are not based on seeing. The origin of the images lies in an introspection, which I then experimentally transfer to the medium of photography.
Especially in the comparison of external and internal perspectives, a multi-perspective
field of tension arises, which enables more complex contexts to be presented visually. Objective information as well as subjective experiences, comments, emotions and sensory impressions interact and thus allow us to speak of socially critical and culturally relevant topics.
Another coherent focus on materiality in my work is based on the thesis of an increasing human loss of a haptic handling of materials in the course of digitization. This examination manifests itself in terms of content as well as haptics and purely aesthetic, whereby the focus is on the consistency, tactility and color of the materials. Contrary to current tendencies, based on experiments, I give these properties an immanent role in the picture.
