wait, no hard feelings but these feelings hard tho (2025)



40x150
concrete scupture 
i wanted to be honest and give meaning back to you, add to some bigger story arch - anyway. the words stand for you, too small to elaborate, too personal to translate properly, too intimate to mean anything grand to anyone, too accidental to be fixated on


its assumptions of other’s knowledge of myself, misinterpretations of my own story, surroundings i chose to be in, minutes i bought into without regret, finding my location years later, not because i did the wrong thing, cause i did the right thing, my feet remain planted on the ground, my hand around my lighter, my view across the odd reprise, i‘ve imagined i suffered realizing that the right thing for oneself, the right thing for others, can rarely be truly aligned to be the right thing for the two of us


static 

here to revisit  

persist

first of all it’s a grave

i didn’t even fathom  

earth beneath my feet

hardened through my hands 

overgrown, my buried hand broke free 

grew away from you until it couldn’t stretch any further 

not reckoned, never reckoned with 

it will take years 

for my plan to come true but it isn’t a plan it’s just what i want to happen 

victimization in light of our actions / in

sexy as fuck 

demonization / out

skewed values and impressions 

i’m fucking thriving 

you believe that? 

our streets walk themselves on autopilot 

hence i returned

little pilgrimage 


it’s me who truly changed my life it’s me who tragically has to witness my own spit clump up the dust 

for sticking to who you are

to yourself

fighting against who you are to others 

what endures is only

time spent 

hope, somebody tells me, needs to die, for new hope to emerge 

my hope remains



after we broke up she released a book titled flowers i should have thrown away yesterday, years later i started collecting flowers to dry on a walk with somebody i wanted to spend my entire life with, depressing glue held it onto a letter never read, late, cause i sat contemplating, had asked for hints, as if existence was only for myself, i bought flowers for near strangers, only for them to die in my kitchen, when she was ashamed, when she flaked, when i realized i had no grip on actuality, but remained seated waiting for anything 


to change the course 

of your flowers moulding

in the corner of my kitchen 


i sat on my balcony for months waiting for time to fill the space, i trusted blindly, flowers, smokes and hope for the barrenness underneath my feet to become 


i sat on a capsule trapped under corrupted gravel, i didn’t understand, until i looked down at my feet, the cigarettes, the pigeon shit, the flowers across the plain, moments of misguided hope, accepted, traces of real decisions, wrong answers, the worst habits, the glorified decay, the weight of staying behind, i had built the place where i resided, a model of my position, my decision to remain in blind faith in what’s ahead

at the same spot i’ve known, it didn’t seem like it lead anywhere else than anything else


longing for another force of nature to disrupt the residues of time spent

but winter came and summer came and winter came again and summer came again and winter came again and then there might have been another winter and another summer

and nothing breathed 



epilogue 


all embarrassment declares humanity proudly, all admitted failure to understand represents integrity, all action is born out of fear or bravery, one victorious

brave is to love without fear.

i remain a fearful bitch.

until the bitter fucking end.





geht eh alles irgendwann kaputt (2024)This series of works uses industrial and organic elements arranged in ways that represents the archaic attempts by humans to overcome nature and the inherent decay of human created systems.

The central theme of this series examines the cyclical nature of human existence and the constructs we create to impose order on an inherently uncontrollable world.

Through landscapes, decaying structures, and utilitarian artifacts such as power lines, grids, and rods, I aim to explore how human efforts to build permanence - rooted in notions of progress and innovation - inevitably lead to obsolescence, decay, and renewal.

I wanted to question how constructs mimic nature, not as an act of innovation, but as an acknowledgement of the very systems we are inherently a part of. To critique the illusion of separation between human and nature. Emphasizing our role within a world that perpetually rises, falls, and reshapes itself.

These cycles reveal the tension between our aspirations for control and the inescapable reality of our impermanence.

For me, there’s a humorous undercurrent to this meaninglessness. Acknowledgment of the absurdity in our dramatic attempts to assign meaning to systems that will ultimately outlast and overwrite us.

The cyclical nature described in the work’s themes is intentionally embedded within its creation process. Rather than beginning with a blank canvas, the works draw from documentary photography, using collage elements, gel transfers, and scans of negatives layered with digital compositions. This deliberate integration of past and present mediums aims to mirror cycles of creation and decay which the works conceptually explore. The transformation of digital photographs into analogue materials and their subsequent dissection and recombination is inspired by the human tendency to recontextualize and repurpose the existing into “new” forms - which themselves are destined to decay and be replaced. I wanted to merge several layers of moments that have passed to arrive at one new final moment that is aware of its own decay within time.

Ultimately, this is not a human world; it is nature’s domain - a reality we cannot control, transcend, or escape, even into digital spaces or artificial constructs.
80x80 
aluminium diabond




untitled self (2025), seven friends, fours lovers, two strangers, one self (2025) , spinning head (2025), untitled self (2025)


various aliminium sculptures part of a bigger installation. 



ach, hergott (2024)


60x60
acrylic 
For this work I have referenced different images from my time in Texas ( and ).

First, print black and white extreme contrast versions of photographs to get to the underlying shapes and patterns of light. Afterwards, combine underlying shapes with other found compositions, stack layers of  materials over each other.

In this work I wanted both everything to be positive and negative, every object ambivalent as if not sure if it’s new or old, good or bad. I printed, scanned, reorganized, and drew in details until arriving at the final piece ().




various (2023)


40x40
archival print 




replica of nostalgia (2024)


7x4
installation
The work aims to be a deconstructed version of the digital works, both through its own materials as well as the reaction and impact on the industrial environment it existed in. Where materials exist without others giving them purpose – cables without anywhere to go, fences with nothing to hold, flowers with nowhere to grow etc.

I wanted the installation to reference the digital works, which themselves are constructed out of purposeful industrial and organic elements arranged in a way that symbolizes the archaic attempts by humans to overcome nature and the decay of human created systems through new combinations which render them useless and absurd.

---

In 2024 my friend and part-time mentor Paul Hodgson invited me to participate in an exhibition with him. I presented several works alongside my first installation work made in collaboration with Giulia Moliariov.

Installation:

* Materials: Wood, Mirror Film, Cables, Chickenwire, Curtains, Flowers, Steel
* Designed and built within three weeks


Exhibition:

14–18th of May 2024
Curated by Paul Hodgson
5 day showcase of painters, printmakers, movie makers, performance artists and musicians
Including works from Radhika Khimji, Mariana Mauricio, Paul Hodgson & myself


BUTZI/ BLOWING UP THE WORLD FROM MY BACKYARD (2024)


30 minute documentary
In a culture increasingly centred on individualism, Blowing up the universe from my backyard (2024) represents my attempt toward redefining happiness within capitalistic societal pressures for success - not in distant, unattainable goals, but in togetherness, and love - dismantling them right from my own backyard.

The documentary is a critical observation and celebration of the duality of life, focusing on the tension between what could have been and the acceptance of what is.

I was inspired by engaging with various works and films (see page 48) that explore themes of aging and death. While many of these works conveyed a profound sense of sadness, I aimed to present an alternative perspective. Positivity which is found within constraints through love.


Do differently? Hard to say...nothing really, you probably just make the same mistakes again...

This opening statement sets the tone for the stories included throughout the work. It represents my grandmother’s awareness of accepting life as it is, knowing that the decisions she has made are likely the best she could have made

The film has various chapters focusing on consequential moments and decisions which are contrasted against each other in an attempt to grasp the intricate complexities that define one’s own life. Stories, such as my grandmother ending her first engagement, and living with a sense of regret as she imagines

an exciting alternative to the stable calm life she is currently living, are crucial in understanding the happiness we see her express later about the life path she ended up choosing.

Throughout these chapters it becomes clear that most of their happiest memories have been created together. That both never fit together perfectly has been amended by them building a family into which they both fitted perfectly.

In Germany, the countryside often symbolizes old values like family and tradition, while cities represent opportunity and ambition. Such divisions risk undermining the democratic fabric of society. I believe it is important to see how people in tightly defined circumstances can find happiness in life through accepting the decisions they have control over and the ones they don’t. This work aims to serve as a reminder to my generation - and myself - that professional and creative self fulfilment are a gifted possibility we need to appreciate but not lose ourselves in.

I avoided the conventional pace and storytelling structures of documentaries, aiming instead for a natural, familiar "family" flow. Inspired by Gasoline Rainbow and conversations with its writers and directors, I adopted an audio- forward approach. This allowed me to freely piece together dialogue, create unexpected connections, and emphasize the repetitive nature of certain life topics by contrasting or overlaying similar conversations.

The structure mirrors how we remember those closest to us— not through linear narratives but as an accumulation of

fragmented moments, emotions, and impressions. Major life events are touched on lightly, while ordinary moments gain unexpected significance, revealing a profound beauty in the unseen gestures that shape our lives. My filmmaking process reflected this partial, ephemeral understanding, capturing the truth in the ordinary.

In recent years, the documentary genre has faced ethical critiques, particularly for exploiting or dramatizing subjects’ stories for entertainment. Rejecting this, I sought an authentic, intimate portrayal that resonates with my

generation's desire for sincerity. Avoiding dramatic storytelling or invasive personal details, I focused on the motivations and impacts of life events, reflecting deeply on their meaning.

To address modern pacing challenges, I experimented with editing to maintain viewer interest while staying true to the reflective, fragmented nature of memory. By doing so, I aimed to contribute to evolving documentary practices and offer a piece that invites viewers to engage deeply with life’s intricacies.







BUTZI/ BLOWING UP THE WORLD FROM MY BACKYARD (2024)


30 minute documentary
In a culture increasingly centred on individualism, Blowing up the universe from my backyard (2024) represents my attempt toward redefining happiness within capitalistic societal pressures for success - not in distant, unattainable goals, but in togetherness, and love - dismantling them right from my own backyard.

The documentary is a critical observation and celebration of the duality of life, focusing on the tension between what could have been and the acceptance of what is.

I was inspired by engaging with various works and films (see page 48) that explore themes of aging and death. While many of these works conveyed a profound sense of sadness, I aimed to present an alternative perspective. Positivity which is found within constraints through love.


Do differently? Hard to say...nothing really, you probably just make the same mistakes again...

This opening statement sets the tone for the stories included throughout the work. It represents my grandmother’s awareness of accepting life as it is, knowing that the decisions she has made are likely the best she could have made

The film has various chapters focusing on consequential moments and decisions which are contrasted against each other in an attempt to grasp the intricate complexities that define one’s own life. Stories, such as my grandmother ending her first engagement, and living with a sense of regret as she imagines

an exciting alternative to the stable calm life she is currently living, are crucial in understanding the happiness we see her express later about the life path she ended up choosing.

Throughout these chapters it becomes clear that most of their happiest memories have been created together. That both never fit together perfectly has been amended by them building a family into which they both fitted perfectly.

In Germany, the countryside often symbolizes old values like family and tradition, while cities represent opportunity and ambition. Such divisions risk undermining the democratic fabric of society. I believe it is important to see how people in tightly defined circumstances can find happiness in life through accepting the decisions they have control over and the ones they don’t. This work aims to serve as a reminder to my generation - and myself - that professional and creative self fulfilment are a gifted possibility we need to appreciate but not lose ourselves in.

I avoided the conventional pace and storytelling structures of documentaries, aiming instead for a natural, familiar "family" flow. Inspired by Gasoline Rainbow and conversations with its writers and directors, I adopted an audio- forward approach. This allowed me to freely piece together dialogue, create unexpected connections, and emphasize the repetitive nature of certain life topics by contrasting or overlaying similar conversations.

The structure mirrors how we remember those closest to us— not through linear narratives but as an accumulation of

fragmented moments, emotions, and impressions. Major life events are touched on lightly, while ordinary moments gain unexpected significance, revealing a profound beauty in the unseen gestures that shape our lives. My filmmaking process reflected this partial, ephemeral understanding, capturing the truth in the ordinary.

In recent years, the documentary genre has faced ethical critiques, particularly for exploiting or dramatizing subjects’ stories for entertainment. Rejecting this, I sought an authentic, intimate portrayal that resonates with my

generation's desire for sincerity. Avoiding dramatic storytelling or invasive personal details, I focused on the motivations and impacts of life events, reflecting deeply on their meaning.

To address modern pacing challenges, I experimented with editing to maintain viewer interest while staying true to the reflective, fragmented nature of memory. By doing so, I aimed to contribute to evolving documentary practices and offer a piece that invites viewers to engage deeply with life’s intricacies.






YOUYOUYOU2 (2020)

installation, UK Having studied music and production at Westminster, I had the opportunity to develop my first sound installation during my graduating year.

The work YOUYOUYOU2 explored noise pollution and the collective loss of individuality within urban settings. It aims to critique the overwhelming sensory and psychological pressures of today's urban environments while simultaneously inviting participants to reflect on their role in creating and perpetuating these conditions. The integration of surveillance technology, such as cameras further tied into themes of performativity and self-awareness in an age of constant visibility.

Set-Up:
  • Single room sound exhibition for one visitor
  • 2x projectors + HDMI cable, 3x Vocal Studio Mics + 2x Soundshield + XLRs (long), USB mixing desk, 2x webcam, Ableton PUSH 2, D9 Plexiglass walls
  • Duration approximately 5–10 minutes



Kai:...especially during stressful times I found myself always blocking out the sound while in the city and many people seem to have headphones in their ears. It’s like we can’t stand the collective sound we are creating. This work was designed to encourage reflection on one’s own impact within such an environment. It explores how we become part of the city, contributing to its noise, striving to make ourselves visible and heard. Yet, in doing so, we inevitably blur into the overwhelming mass of noise and thought that defines the urban experience.

Sensory experience seems to play a central role in your installation. What motivated your decision to immerse participants in a pitch-black space where they become both creators and subjects of chaotic noise and light?

Kai: ...forcing participants to navigate the experience actively rather than passively. This introduces a foreign dimension of engagement. visitors must uncover the installation’s meaning through their actions, as their participation dictates the unfolding experience. I loved that people could choose to remain silent and still for twenty minutes, yet nobody did, which I believe speaks to human nature. It compels us to act, even in uncertainty. The brightness which makes the filmed projection of oneself invisible again, at the end, symbolizes a loss of individuality, consumed by the overwhelming noise and light—representing loudness of existence and the chaos. A key thread for me was the loss of control. At first, the participants have agency, but the inevitable feedback loops strip them of it. Once initiated, the chain of sounds escalates beyond their grasp, reflecting the unstoppable momentum of life. The first move participants make is crucialit pulls them from darkness, forces them to confront themselves, and leads them toward something larger and more uncontrollable.

The layering of participant-generated sounds and the progressive amplification creates a metaphor for feedback loops. How do you conceptualize this looping process as a reflection of human behavior in urban spaces or modern systems?


Kai: The loops reflect the inevitability and accumulation of human action in collective spaces, in spaces where individuality is constantly at odds with systems larger than ourselves. I wanted to explore the idea that we feel alive only when doing, speaking, experiencing, or creating. Yet, no matter what we contribute, our individual expressions merge into a collective “wall of sound.”




The Libertines (2019)Berlin Printed & signed for charity auction. 









LINKIN PARK (2017)Festival Run: Germany official memorial photo