• Works
  • Images
  • Palettes, 2026
  • Gänsehaut, 2026
  • Face Paint, 2026
  • Game of Life, 2025
  • For Flute and Kettle, 2025
  • Hamburg räumt auf?, 2025
  • Face Charts, 2025
  • Eremitage, 2024
  • Five o'clock Shadow, 2024
  • Snailhouses for Berlin, 2022
  • Baby, 2022
  • Frankfurz, 2021
  • Offene Fenster, 2022
  • Erziehungskunst, 2023
  • Graue Immanenz, 2022
  • A Stitch in Time, 2021
  • Eye shadow ordered according to diagrams representing survey data on compulsory military service in Germany by age group, 2025 Ages 18–29 / Ages 60+
  • As part of the exhibition *Memory is a Strange Bell* at Künstlerhaus Bethanien x Neuer Berliner Kunstverein (n.b.k.)
  • Quail eggs arranged according to the rules of Conway’s Game of Life, a
  • Poulenc’s Cantilena for flute was combined with a kettle used as an additional sound source. The piece took place on a balcony facing an inner courtyard in Berlin.
  • In 2014, toilet brushes became an unexpected symbol of protest in Hamburg during the so-called
  • For the inauguration, we collaborated with the “Süße Frauen” of Blaumeier-Atelier Bremen, who presented a performance.
  • The event also included a trash-collecting action registered with Hamburger Stadtreinigung, during which participants listened to an audio piece on headphones.
  • Make-up looks were developed from statistical diagrams covering a diverse range of topics, including Eurovision results, U.S. election results, and biopolitics. During the evening, guests could choose from the looks and have them applied by two professional make-up artists.
  • Ingrid is wearing the look *Who gets to have Children?*
  • Ksenia is wearing the look *When it rains in Movies *
  • Based on research into the English landscape garden, I added a hermitage and a hermit to the sculpture park of Haus am Waldsee in Berlin. I transformed a glass recycling container into a walk-in hermitage, sealing its bottle openings with stained glass made from collected glass fragments. The sculpture and garden were performatively activated throughout the summer by an appointed “ornamental hermit.”
  • Work contract for the ornamental hermit. The contract combines elements from historical agreements for ornamental hermits, such as clauses on not cutting one’s fingernails, offering whimsical advice, and carrying an hourglass, with the institution’s employment contracts for exhibition guards.
  • *Steigende Mieten (I, II, III)*, 2019 Polystyrene sheets, Tin whistles, Polymer clay, Tubes, Blowing machine, Water pump, Sound (duration 10 min, 5 min break, looping) 45 × 35 cm, 3 Parts
  • Steigende Mieten (I)
  • *Steigende Mieten (III)*, Detail
  • *Snail houses for Berlin Niclas Riepshoff at Shahin Zarinbal 2022*, 2022, Mixed media on foam board, 31 x 45 x 0.5 cm
  • Co Westerik, *Naakt met bladeren* (left), 2011
  • *Snail house for Berlin*, 2022, Mixed media on foam board, 32 x 44 x 0.5 cm
  • Mdf, trompe-l'œil wood grain painting, ca. 360 x 375 x 360 cm
  • Skyline Organ (Frankfurz), 2021, customized barrel organ, brass pipes covered with architectural models made from cardboard, aluminum foil and acrylic paint, customized punchcard „Wind of Change“, 100 x 80 x 60cm
  • Untitled (Frankfurz), 2021, charcoal and pen on paper, 59,4 x 42,0 cm
  • Starting point for the evening program were poems by GDR youths from 1965 - 1989, which the author and publicist Edwin Kratschmer collected and published in nine volumes under the title
  • *Legs*, 2023, mixed media installation, dimensions variable
  • Untitled (globe), charcoal and pastel on paper, 29,7 x 42 cm