In my works, I try to combine quiet gestures into a painterly, momentary capture. It is precisely the fragmentary nature of the painting, not entirely within the picture plane, that suggests the moment of memory, when areas often no longer remain in memory and therefore remain free, as one concentrates on the essential and blocks out seemingly unimportant elements.
I am particularly fascinated by hands, which are an essential means of nonverbal communication and are often more characteristic of people than their faces. They not only become independent subjects in their own right, but also become a pictorial motif in their various facets, their gestures and actions, as well as their postures and movements. They often reveal more about the person portrayed than a larger view can.

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