Since 1992, I have primarily concentrated on wax intaglios:
Large sheets of paper (up to 220 x 150 cm) are waxed with transparent paraffin and colored with a mixture of black pigment and dispersion paint. The blackened, waxed paper requires generous gestures and thus unusual tools: Using fillers, wire brushes, hand rasps, and knives, marks are etched into the colored layer, allowing the white underneath the wax (or vice-versa, black on white) to create austere images.

In the act of drawing itself, a scraper is used to remove the wax from the paper at a distance of arm’s length, at the most. This prevents the artist from having a controlling overview; that means, the artist is in the midst of the act of drawing, the act of drawing is insistent. The activity does not take place — as it used to — at a distance, where the artist has an overview.

Every time a mark — a scratch, a spot — is made, the artist must take up the empty space anew, and at the same time, consider it a challenge to once again deal with black and white. In this process, what seem at the beginning to be object-like or figurative approaches are erased or dissolved.