Technique and Classification
For my oil paintings I am using heavy Belgian canvases. For the priming of the canvases a self prepared very white gesso is used to achieve an optimal reflecting undercoat layer. The oil colors are applied in very thin layers. Before the next layer is applied the previous one has to be dry. The layers are so thin that even covering paint appears translucent. Thus, colors can be mixed without losing their pureness and brilliance. My selection of colors does not always relate to reality. It is determined by the composition and the intended atmosphere. In spite of the sometimes sinister subjects of my paintings the first impression should be lighthearted.
Achieving an illusion of movement in a painting is a constant in various subjects like e.g. landscapes, animal portraits, and sport compositions. Paintings of landscapes are mainly based on my own sketches or photos taken outdoors in nature. In the studio those impressions are further manipulated by abstraction and color alienation. Paintings of persons are often based on more than one photos. In the final paintings those photos are only vaguely recognizable.
Since some time I am more and more interested to dismantle the rigid structure dividing a painting in foreground, middle ground and background. Art history is full of examples, only to mention altarpieces with diptychs, triptychs, etc. With the help of those structures more complex space- and time-variant “stories” can be told adequately.
During a two years stay in Istanbul I got some inspirations from oriental book illustrations, old maps and figurative representations on tiles. For a series of drawings depicting impressions from Istanbul I combined different eastern and western ideas to a new concept of composition.
My graphic work on one hand side comprises drawings that result from sketches for paintings. On the other hand side the graphic work plays an important role of its own as the technique offers essentially different design options. The graphics are mainly performed using pencil, charcoal, acrylic and oil pastel.
Clay sculptures are produced building up the objects from slabs of clay. Some of the objects are glazed or undergo other procedures to style their surface, e.g. using raku techniques. For outdoor use sculptures are fired at high temperatures so that they are weatherproof.
How Others Reflect My Art Work
Einladung Offene Ateliers in Brandenburg, Märkische Allgemeine Zeitung, 2022 →
Einladung Offene Ateliers in Brandenburg, Ruppiner Anzeiger, 2022 →
Nomination for the Wilhelm-Morgner Award, Soester Anzeiger, 2022 →
Nomination for the Wilhelm-Morgner Award, Stadt Soest, 2022 →
Blog article (in German) of Freya Sutter from Zurich about Alexandra's art, 2021 →
Zur Ausstellung „auf sichtweite“ in Berlin, Märkische Allgemeine Zeitung, Regine Buddeke, 2021 →
Zur Ausstellung „Zuhause. Familienbilder“ in Bonn, Peter Köster, 2019 →
Zur Ausstellung „Zuhause. Familienbilder“ in Bonn, General-Anzeiger, 2019 →
Zur Ausstellung „Werkschau“ in Brig, Walliser Bote, 2019 →
Laudatio zur Ausstellung „Werkschau“, Anette Kummer, Brig, 2019 →
TV report about Artist in Residence, Brig, 2018, Swiss TV Kanal 9 →
Video on the occasion of the exhibition TIER.LIEBE.MENSCH, 2018, Projekt Galerie.TRAFO 1-3 →
Open Studios in Brandenburg, 2018, MOZ.de →
Zur Ausstellung „In Bewegung“ in Rheinsberg, 2018 →
Zur Ausstellung „In Bewegung“ in Rheinsberg, 2018 →
Fair ART Brandenburg, Potsdam, 2017, Potsdamer Neueste Nachrichten →
Fair ART Brandenburg, Potsdam, 2017, Märkische Allgemeine Zeitung →
Fair 3 Tage Kunst, Berlin, 2017, Berliner Morgenpost →
Laudatio zur Ausstellung „Starke Frauen“, Frank Weber, Petzow, 2017 →
Open Studios in Brandenburg, 2017, Märkische Allgemeine Zeitung →
Open Studios in Brandenburg, 2017, Märkische Zeitung →
Zur Ausstellung „entSCHLOSSen“ in Schloß Leuk, Switzerland, 2016 →
Zur Ausstellung „Drei Galerien · Zwei Welten · Eine Idee“ in Reitwein, 2016 →
Zur Ausstellung „verliebt, verlobt, verheiratet,...“ in Bad Kreuznach, 2016 →
ARTisSpectrum Magazine, New York, 2015 →
Agora Gallery exhibition "Contemporary Perspectives" in New York, 2015 →
Offene Ateliers in Brandenburg, 2015 →
Zur Ausstellung „Verliebt, Verlobt, Verheiratet...“ in Petzow, 2013 →
Laudatio zur Ausstellung „Verliebt, Verlobt, Verheiratet...“, Frank Weber, Petzow, 2013 →
Laudatio zur Ausstellung „SPORT.WETT.KAMPF“, Michael Pommerening, in der Galerie Trafo, 2012 →
Zur Ausstellung „Abmachen? Neumachen! – Marie Goslich revisited“ in Frankfurt (Oder), 2012 →
Zur Ausstellung „Abmachen? Neumachen! – Marie Goslich revisited“ in Frankfurt (Oder), 2012 →
Zur Ausstellung „Zwiegespräch – farbiger Dialog mit schwarz-weißer Fotografie“ in Potsdam, 2012 →
Zur Ausstellung „Zwiegespräch – farbiger Dialog mit schwarz-weißer Fotografie“ in Potsdam, 2012 →
Atelierbesuch in Banzendorf, Artikel der Märkischen Zeitung, 2012 →
Atelierbesuch in Banzendorf, Titelseite der Märkischen Zeitung, 2012 →
Offene Ateliers in Brandenburg, 2012 →
Zur Ausstellung „Kampf – Sieg – Niederlage. Grafik und Malerei“ in Werder (Havel), 2012 →
Zur Ausstellung „Kampf – Sieg – Niederlage. Grafik und Malerei“ in Werder (Havel), 2012 →
Zur Ausstellung „ZU TISCH. Stillleben “ in Potsdam, 2011 →
Zur Ausstellung „Malerei trifft Fotografie“ in Petzow, 2010 →
Laudatio zur Ausstellung „Malerei trifft Fotografie“ Frank Weber, Petzow, 2010 →
Zur Ausstellung in der Galerie Noah, Augsburg, 2007 →
Zur Ausstellung im Künstlerhahnhof Ebernburg, 2007 →
Zur Ausstellung im Künstlerhahnhof Ebernburg, 2007 →
Zur Ausstellung in Bexbach, 2006 →
Zur Ausstellung in der Galerie Fahlbusch, Ludwigshafen, 2002 →
Zur Ausstellung in der Galerie Fahlbusch, Ludwigshafen,2002 →