Research and Discuss Opportunities

I’ve already applied to many open calls over the past years. I haven’t applied to residencies yet, not because I’m not interested, but because I didn’t feel ready until now.

Some of the open calls I applied to were successful, and those experiences taught me a lot. For example, with my colour field works, I realised that I often couldn’t achieve the result I was aiming for. That led me to question why viewers might not be fully grasping the essence of those pieces. I’m now focused on understanding that better, looking at the material, presentation, and perception, and refining the work based on what I’ve learned.

At the same time, I’ve been developing my sculptural practice. I’m currently working on a new series of vessels made from recycled newspapers, building on the ideas and aesthetics of my colour fields. These vessels are a continuation of that language, but with a different material presence, more spatial and tactile.

I will definitely keep applying to open calls, but at the moment, my main priority is pursuing a master’s degree. I see this as a crucial next step in my artistic development. That’s also why I can’t simply apply to just any residency; I need to plan carefully and align everything with my long-term path.

Another important factor is that I’m already working closely with a gallery that supports me and believes in my work. Together, we are planning two major exhibitions for 2026, which I’ve already started preparing for. Naturally, these commitments shape my calendar and decision-making.

Still, I’m very aware of how residencies, grants, and open calls can support and advance an artist’s career. I’m not dismissing them, in fact, I’m very selective. I only apply to those opportunities that truly resonate with my current direction and can meaningfully contribute to my development as an artist.

In parallel, I participated in the exhibition Sommersalon des BBK Saar – Die Neuen, which was an important step in presenting my practice at a professional level.

I showed a body of work that reflected my core themes of fragility, media influence, and post-truth, using recycled newspapers and wood.

The works were presented in a professional curatorial context alongside other artists, allowing my practice to be placed in dialogue with different positions and artistic strategies.

A highlight was the artist talk with Christoph M. Frisch, Chairman of the Bosener Mühle Art Center e.V.

During the discussion

I was asked about AI and art, and I responded with excitement rather than fear. For me, AI is not a threat but another tool, just as photography, Photoshop, or the iPad once were.

During the discussion

I argued that the rise of digital and artificial technology will only increase the value of physical craft, conceptual depth, and authenticity in art. Technical skill and material presence will stand out against the immateriality of AI-generated images. Moreover, authenticity, rooted in lived human experience, cannot be replaced. AI cannot drink hot chocolate or feel the colour violet in the body as I once did, which directly inspired my work.

Setting up the exhibition

Through this exhibition and public exchange, I learned how important it is not only to present my work professionally but also to position my voice clearly within wider discourses around technology, materiality, and authenticity. This combination of material exploration, professional display, and intellectual positioning demonstrates my ability to sustain a professional art practice.

Article about our Exhibition