Motion Studies is of an ongoing series based on German gymnast photography from the 1920s – 1940s. The series is concerned with the collective perception of a visual language, that was taken as a metaphor of power by the Nazi regime, as well as possible forms of it's re-narration.

Exceed, 2020
screenprint and spraypaint on paper
122,5 x 158 cm (edition of 3 + 2AP)
porcelain object

Motion Study, after Rudolf Bode (II), 2020
31 x 25 cm (framed)
lacquer on book page

Motion Study, after Dora Melzer, 2020
Concrete, digital print on ceramics, lacquer
120 x 90 x 3 cm

Motion Study, After Rudolf Bode II, 2020
digital print, lacquer on wood
142 x 158 x 8,2 cm

Motion Study, After Rudolf Bode I, 2019
digital print, lacquer on wood
130 x 96 x 8 cm

Motion Study, Deutsche Turnzeitung, 2018
lacquer on newspaper pages, 35 x 50 cm each
lacquer on painted canvas, 300 x 200 cm
video projection on Honey Onyx, 40 x 60cm, loop

'Motion Study, After Leni Riefenstahl' deals with the Nazi regime's orientation towards the high-classical, Greek sculpture for propaganda purposes, in the specific case of German film director and photographer Leni Riefenstahl (1902-2003).

The three-part installation (b&w print, marble and ython on steel pedestal, tape on window-glass) presents itself in three successive layers, based on the discus thrower of Myron and it's photographic reproduction by Leni Riefenstahl (1936)

Thus the greek sculpture as such, as well as the monumental portrayel of greek sculpture in Riefenstahl's 1936 work "Beauty of the Olympic Battle" is broken down into it's essential parts: the human body, material/ medium of representation, and body movement.

Motion Study, After Leni Riefenstahl, 2018
b&w print, marble, ython on steel pedestal,
tape on window-glass
100 x 70 cm, 170 x 70 cm, 100 x 70 cm

Cycle 1, 2019
lacquer on digital print
90 x 90 cm

Cycle 1 (sculpture) 2019
cabinet cards, lacquered aluminium
17 x 30 cm