Looking for a material that, unlike the application of colour to an object, enables a fusion of colour and coloured body, I inevitably came to ceramics and glaze. Here my sculptures could finally let off steam in terms of colour, ideally as a symbiosis of image and sculpture, as colour concretising itself in three-dimensional space.

All free forms – which are fed by the forms stored in my hands through touch, varied by the encounter with the complexity of organic nature, such as that of deep-sea organisms, – I develop in a coloured idea.

I understand my work as creating a place where movement is transformed: In painting, movement becomes colour, in sculpture it becomes form In both, movement is saved and preserved, transformed into a state that takes movement out of time and yet does not immobilise it, but allows it to be experienced as movement.

Air that moves is sound. Since in my world sounds are not only colourful but also form distinct shapes with haptic surfaces surface – how one can hear without seeing I cannot even imagine – it was only a matter of time before I realised that when I sing, I sing sculptures. This is how my sculptures found their real material: in the transformation into sound. And me as a singer, I gained the experience of creating ONE sound with musicians, dancers and the audience.