I work as a set designer and prop stylist for advertising and media.
What I see as essential here is the art of imagination: creating an environment for things that brings out their potential, that creates a glow.
A wealth of specialised tasks is hidden in this field.
This can be the ingredient of a certain flower that visualises something invisible - a fragrance - in its condition, colour and form. What is required here is the ability to activate all the senses with an image that is only accessible to the eye: to evoke a sense of haptic qualities in the fingertips, to let a taste be felt on the tongue, to produce a sound.
It can also be a matter of creating an optical counterpart for a materiality that emphasises its peculiarity. To give a sculptural form the shadow that lifts its fullness. To prepare the complementary foil for great preciousness, against which its splendour can only assert itself.
Beyond the optimisation of material presence, other things come into play. In the broadest sense, it is necessary to create an associative context in which the addressee recognises himself: to see his idiosyncrasy, his wishes and longings addressed. Subtle empathy is needed here, which also senses the subliminal and manages without all too striking, quickly fizzling out solutions.
Finally, the question of how a production can hold its own in the floating, ever-evolving environment of merchandise advertising must be considered. A great field of tension of both stimulating and lasting effects is called for here. Every production needs a surprise, an evocation that immediately appeals to the eye and holds it, but also: something unwieldy that invites us to delve deeper. A touch of humour here and there can't hurt either. It must offer something to the first glance as well as to the second and third. It should be touching, it should stick in the mind and have a lasting effect. It should make things shine, avoiding any shouting.
I see the complexity of such tasks essentially preserved in art-related constellations. Intuition and sensual intellect are indispensable components of my work - founded on learned and practised techniques, on mastered craftsmanship. Professionalism is based on the productive interplay of such factors.
Essentially, still life is my profession. The patterns of this art genre are deeply inscribed in our cultural DNA and allow for a wide spectrum of bold and daring modernisation: in the unexpected arrangement, in the subtle balancing, in the indispensable ingredients of colour and light.
I experience occasional excursions into theatre, the liberal arts and fashion as an enrichment of my core competencies, which refreshes the view, broadens the horizon and protects me from industry-specific narrow-mindedness.
Recently, I discovered the world of moving digital images for myself: in the form of video clips set to music, mostly dealing with everyday observations. The medium opens up the extremely appealing possibility of synaesthetic work. With means of optical alienation, rhythmisation and acoustic accompaniment, I seek to gain something new from what I have often seen: compressed moments of muse, of enriching pause.
I worked as a fashion designer with Claude Montana in Paris, as a trend researcher with Li Edelkoort, and as a self-employed set designer in Paris until 2010. I now live and work in Berlin.
Features & Equipment
References:Louboutin, Jil Sander, Moët&Chandon, Dior, Lancôme, Le Bon Marché, Yves Saint Laurent, Villeroy&Boch Rimowa, Air France, Aqua di Parma, Givenchy, Montblanc, KaDeWe, Wempe, Veuve Cliquot.
Specialty:Studies of art history and fashion design at the Academie Beeldende Kunsten Maastricht