Each canvas bears the trace of an event: a beginning, an intensification, an interruption — swift, hesitant, or faltering passages. Each bird resembles the others yet remains unmistakable, unfolding its own emotional and formal energy. In their serial arrangement, they appear like a flock: polyphonic, contradictory, yet alive in their resonance.

It´s All About Us, 2025

Installation
Colored wooden printing blocks, ink and gouache on canvas, copper plates, cord
Approx. 300 × 180 cm

This work feels like a small stage for my inner world. Fabric, color, and form intertwine into fragments of memories, dreams, and images. Amid animal figures, bodies, and fleeting signs, I search for stories of transformation, belonging, and the threads that connect us.

Little Spirit, 2025

(Suspended object with rotating motor)
Copper ribbons, chicken wire, ink on paper, nylon thread, and rotating motor,
H × W × D: approx. 45 × 25 × 25 cm

Copper-colored bands act like veins, connecting and holding, while blue, cloud-like forms are light, fleeting, and alive. Little Spirit is a poetic visualization of the interplay between energy, body, and mind — a small, floating cosmos.

Gatekeeper and Blue Moon, 2024

Collages with ink and woodblock prints on paper, copper plate
sheet 48 × 36 cm, framed

Zwei Vögel, zwei Spiegelungen.
Der eine steht am Tor, der andere in der Zeit.

Two birds, two reflections.
One stands at the gate, the other within time.

Corazón, 2024

Ink on fabric and paper, wire, pencil
Approx. 55 × 35 cm (without pencil frame)

The mixed-media work “Corazón” (Spanish for “heart”) features as its central motif a detailed, intricate drawing of a bleached, dead coral in black and white. Above the drawing, a red, heart-shaped ribbon hangs down, touching the top of the coral.
The structures of the coral speak of growth, impermanence, and the power of collective life. The heart, a universal symbol of love and emotion, is connected to it.
 The title “Corazón” reinforces this idea of connection, suggesting that the coral serves as the physical vessel for the heart.

One-Man Tents, 2022

Canvases, easels
Canvases: 180 × 150 cm

I enter the room and hear a soft rattling, clattering, whispering, and murmuring.
 Scattered like islands, structures occupy the space. 
Hints of entwined tents, enormous birdcages, domes, and ships surround me.

One-man tents offer protection and isolation, while at the same time allowing a view outward.

Villa by The Sea, 2022

Coloured Woodblocks: From left to right: 27 × 20 cm, 22.5 × 17 cm, 22 × 13 cm,
22.3 × 17.5 cm, 27 × 20 cm, 23 × 22 cm

Fata Morgana, a mirage, a castle in the air that dissolves as you approach.

I construct architectural forms and shells that are filled by our desires and imaginations.

New Haunting – Old Ghosts, 2019

woodblock prints on paper, ladder, wooden spoon and paper flame

„Neuer Spuk–Alte Geister zeigt eine Installation mit einer Flamme, Kochlöffeln, und diesen Wesen, Schachfigur-Zentauren, eingemummelten Gespenster in Zu- und Abwendung.“

Zitat von Christine Wunnicke

„New Haunting – Old Ghosts presents an installation featuring a flame, wooden spoons, and these beings: chess-piece centaurs, swaddled ghosts in gestures of approach and withdrawal.

Quote by Christine Wunnicke

Three Moving Images, 2018

Installation with animated films on a smartphone, music stand, pedestal with images of the original sculptures

In my childhood, Constantin Brancusi and Henry Moore shaped my image of the artist.
 I took three of their sculptures as a starting point for my work and developed the installation with a smartphone, music stand, pedestal, and photographs.
 In 5-second animated films, I transformed them into energetic, active, upright women.

References from top to bottom:
— Constantin Brancusi, Sleeping Muse, 1909–1910
— Henry Moore, Reclining Figure, 1936
— Henry Moore, Two Pieces, Reclining Figure, 1963

Überfluss / Abundance, 2018

Installation with ink on paper, framed. and acryl on walls

Everything flows and bubbles. “Abundance” is an anarchic, joyful transformation, an evolutionary alternative.
 Just before the renovation of the Rummelsburg Gasworks settlement, the exhibition “Fast and Dirty” took place in the unrenovated rooms.
 I juxtapose the figurative with the gestural method in a dualistic approach.
 Here, emotional experience is narratively represented within the picture frame and gesturally realized on the wall. 
I deliberately placed the works in various positions throughout the space.