Shape of Feeling
Materials hold emotions. They absorb, transform, and reveal what words cannot. In this exhibition, textures, fragments, and raw surfaces - newspapers, broken wood, layers of colour - become vessels for feeling. Matter shapes perception, evoking unconscious responses. These works invite you to sense, react, and experience emotion through material itself.
Exhibition Walkthrough
When entering the exhibition, visitors are welcomed by a quiet yet powerful introduction: the phrase Shape of Feeling marks the beginning of the journey. It sets the tone - this is not only a visual exploration, but a visceral one. A space where emotion, memory, and matter intertwine.
Room 1: Layers of Feeling, Memory, and Resonance
At the centre of this room stands work “for my mom” - a deeply personal work where a physical surface is animated by a projected video. The video, a three-minute composition, begins with the iconic scene from Dirty Dancing and slowly transforms as the soundtrack shifts into the sound of bombing. This layering evokes a collision of tenderness and violence, personal and political memory. The projection breathes over the textured surface, inviting the viewer to feel, to pause, to reflect. A link allows the full video to be watched - intentionally long, it gives time to connect emotionally.
To the right, the large black colour field Silent Chorus absorbs the eye and the space around it. Composed of recycled newspapers, it is heavy with silence, both visually and sonically. This work represents my synesthetic perception of sound and colour. It doesn’t shout, but rather contains: sorrow, weight, dignity. Its blackness isn’t emptiness - it is depth.
Next to it stands a vessel made from the old newspaper colour fields - a continuation of my idea of constant change and an ever-evolving entity, now translated into form. This piece, one of the newest in the show, is also a self-portrait. It embodies the idea of continuity, of carrying and holding, of the quiet act of transformation.
On the opposite side, a video installation of Temporary Permanence plays. This piece, created in 2024 at the Baumwollspinnerei in St. Ingbert, marked a crucial point in my practice - six large panels interacting with a raw, industrial space. The camera moves slowly through the installation, allowing viewers to feel the scale, temporality, and fragility of the piece.
Beside it hangs Fragmented Perspectives - a photograph taken from that same installation. It captures a partial view of one of the panels alongside graffiti on the wall behind it. This juxtaposition speaks to my interest in the overlap of personal expression and collective marks – my fragile archives of experience - my colour fields in dialogue with the spontaneous world around them.
Room 2: Studio Echoes and Emotional Architecture
This second space opens with a subtle soundtrack - music I composed myself. It blends ambient cosmic tones with recordings from my studio: the sound of brushes, scraping, moving… These layers transport the visitor into my workspace, where thought meets gesture. The atmosphere is intimate and digital at once - like being inside of my process.
A series of works fills the room — painterly, sculptural, and in-between.
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Na Patrikach carries the memory of a place.
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The vase Meaningful or Useless questions function and form, offering a quiet reflection on value.
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Summer in the City captures movement and heat, a kind of abstracted diary.
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Vaporform feels like a breath caught in matter - elusive, changing.
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Attentive and Reflection on My Purpose - two more vessels, they are like held thoughts, humble and careful.
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The Weight of Words returns to materiality and paper, echoing earlier themes of fragility and voice.
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At the Dacha, Definitely Maybe, and the sculpture Gut Feeling, Blue round out this room - each layered with the emotional textures of daily life, uncertainty, and embodied intuition.
At the end of this room, three videos play in English, German, and Russian. These are my spoken artist statements - explaining the process, showing my studio, and offering viewers a deeper connection with how I think and work. They are generous and open, grounding the emotional atmosphere in the labour and love behind each piece.
Final Space: A Digital Horizon and a Message
As visitors exit the physical spaces, they enter a different realm: a completely digital, open environment - no walls, no ceiling. Only one work is here: This Too Shall Pass. A colour field sculpture that shifts as one moves around it. The surface catches light differently from every angle, offering no fixed interpretation. From behind, the title is revealed, quietly spelled out: a message, a mantra, a reminder.
And when you look past the work, you see all the rooms you just walked through - distant now, like memories.
Visit the exhibition here