In my large-format acrylic paintings, I use various materials, such as paper, fibers, plaster or plastic modeling compounds, wood shavings, synthetic resins, wire, etc. Everything is applied in several layers, partly washed off again and then applied again. On this relief-like reason form structure and form, on which then ultimately the pigments are applied. The result is colored, luminous images with various layers and overlapping structures. Characteristic is the powdery, dull and depending on the light intensity intensive surface. In part, I use the pigments with modeling clay, sand and ash. I basically use high-quality, pure and tested non-toxic pigments as color bodies.

These haptic works are created through various blending techniques of chalk, wire, paper, sand from around the world, marble dust and other stone flours applied in multiple layers to give each work a haptic texture and a sense of depth. The grain and color of the sand and the stone flour give each picture an individual atmosphere. Depending on light and sunshine, shadows are created that move across the image and give life and dynamism to the work. I make the stone meal in the quarries of Carrara (marble flour) or by friendly sculptors, who provide me with their stone carvings that have fallen off when working on the sculptures.

The rust and patina plants are produced by various oxidation techniques with iron powder, iron filings, sand, copper particles, brass and bronze chips and various rust solutions.

It is one of the most varied forms of painting and can look back on a tradition of more than 3000 years. In some of my works also bleached beeswax acts as a carrier material of the pigments. By scraping, scratching, ruling, puncturing, etc. And a constant interplay of the application of numerous layers of wax and some scratching again, the encaustic offers a unique variety to the design of the image surface.