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My work engages with questions of class, the hierarchy between craft and art, and the problem of neutrality. I expand my scenographic practice through work in the visual arts, where I respond with sculptural means to questions emerging from theatrical production.

Positioned at the threshold between the visual and the performing arts, I observe an almost ideological conflict: on one side, the proclaimed values of neutrality, naturalness and democracy; on the other, choreography, performance, and an inherent hierarchy between audience and artwork. This interests me above all in relation to the spaces and tools through and with which work is produced (the gallery, the theatre, lighting, plans). Through these related fields, both of which are familiar to me, I attempt to understand larger discussions around power and its dynamics.

I am interested in the limits of intellectual labour and insist on the necessity of sensory experience and embodied knowledge. For this reason I place great emphasis on materiality and on my working process. I want to break open the boundaries of theory and acknowledge every source of knowledge as equal. The choice of media in my practice follows from this commitment. Knowledge generated within these processes is materialised and transmitted.

Recent scenographic work has been shown at Kosmos Theater Vienna, Pathos Theater Munich, and the Wiener Festwochen, where I contributed to the festival design. For the exhibition Zwidemu at MUSA Vienna Museum I contributed the exhibition architecture and an installative work. I was a grant recipient at the Heidelberger Stückemarkt and have been invited with a collectively developed theatre piece to the Drachengasse competition, which will premiere in May. My practice includes running workshops — among them Mikrohandwerk at Neuworkshop Munich — and facilitating a reading group around Peter Weiss's Aesthetics of Resistance. I have a longstanding collaboration with the artist Hansi Wimmer.