With my photographic works, installations, videos, I claim: there is something to be discovered behind the visible surfaces of places, spaces, found objects or people, something difficult to determine. It must be found behind the photographic layer or in the relationship between reference object and image or somewhere in the processes in between.

They are based on countless photographs. I photograph or film the objects as if I were scanning them with the camera, dissecting and analysing them. That's how I get hold of them. This is done partly systematically, partly according to image-forming criteria, partly by including chance. The result is a mass of images. They are often series of close-ups, comparable to film sequences.

Further working steps with the pictures follow: Reassembling, lining up, stacking, mirroring, combining with other materials, especially adhesive tape. Often the photo layer is separated from the carrier material, i.e. photos are "skinned". These physical, sculptural actions are directly related to the motif. I use paper prints as substitute objects of the depicted, similar to the voodoo cult or as if the promise of reality of photography were to be understood literally. For example, it is not a real cloth that is washed and ironed, but its photographic image. In this way, the photograph mutates into something three-dimensional, e.g. a relief, a montage or a deformable sculpture.
Parts of existing works are then taken up again and used as elements for new projects. I compare this way of working with the growth of mushroom mycelia, with memory processes or dreams. 

In my participatory projects, photography serves to document a social research on the different permeability of individuals' reality bubbles. An example of this is the work "Buddhas and guns", in which I use the camera to ask to enter private homes.

Photography is both motif and material in my work. It is my means of expressing doubt about what is image and what is reality, and of investigating how the two can be combined.