Die Geburt des Selbst

Die Eroberung des Selbst, die Mutter aller Epen

Vier Jahre vergingen zwischen dem Moment, in dem der Fluss mir seine Holzschätze offenbarte, und dem Augenblick, da ich sie zu Installationen für diese Reihe sakraler Kunst formen konnte, die Skulptur und Fotografie vereint.

Die noch längere Zeit, die die Elemente benötigten, um dieses Holz zu gestalten, gleicht der Zeit, die ich brauchte, um meine schöpferische Natur anzunehmen. Diese Stücke waren im Schlamm gefangen, bevor sie dort in der Tiefe bearbeitet wurden – genauso wie ich in meinen Ängsten gefangen war, bevor ich mich auf die ultimative Suche begab.

Von Tod zu Wiedergeburt erzählen die Werke, die aus diesen aufeinanderfolgenden Mutationen entstanden, diese Geschichte, die maßgeblich von den Gedanken des Meister Eckhart und der Annick de Souzenelle genährt wurde.

Hinweis: Klicken Sie auf ein Bild, um es zu vergrößern und weitere Erläuterungen zu erhalten.

Go Toward Yourself!

The golden piece of wood evokes an archetypal "carnyx" standing out against an explosive black and red background.

The three-part installation (photograph) in the background, two pieces of wood in the foreground, a walking stick. 3, 2, 1, return home.

The background consists of a red and black image in three parts. Highly dynamic, the photograph evokes an explosion.

In front of it, in the center, stands a wooden stick. It is planted in a rock, which itself rests on sand. Its features are highlighted in gold. It appears crowned with an animal head. It is very similar to a carnyx, the Celtic war trumpet. Yet the form taking shape within it remains mysterious, archetypal.

Behind this head, there is an empty space, in the centre of what looks like a hand open towards the sky. It sits in the axis of the white light from the photograph, the heart of the explosion.

Access to the stick is blocked by an antique beam of planks in the foreground. The two parts of this beam are joined at the base by a metal piece. The upper part is burnt. The edges of the wood grain are gilded, standing out against the soot. The whole is U-shaped, evoking the consecrated horns of Knossos.

Three in the back, two in the front, one in the center. 3, 2, 1... like a countdown, a danced regression with the center as its destination.

Returning to Unity means going towards the Self in a great inner reversal. Going towards the Self means plunging into inner silence, entering within, returning to the home of body and spirit, this temple of the soul: Beith, the second letter of the Hebrew alphabet.

And to achieve this, one must cross the desert with the help of Guimel (three in Hebrew).

3 + 2 + 1 = 6 Vav is the six, the verticalized man who can make the link, unify heaven and earth to unify himself. The general shape of the calligraphic Vav can be found in the Carnyx.

The background consists of a red and black image in three parts. Highly dynamic, the photograph evokes an explosion.

In front of it, in the center, stands a wooden stick. It is planted in a rock, which itself rests on sand. Its features are highlighted in gold. It appears crowned with an animal head. It is very similar to a carnyx, the Celtic war trumpet. Yet the form taking shape within it remains mysterious, archetypal.

Behind this head, there is an empty space, in the centre of what looks like a hand open towards the sky. It sits in the axis of the white light from the photograph, the heart of the explosion.

Access to the stick is blocked by an antique beam of planks in the foreground. The two parts of this beam are joined at the base by a metal piece. The upper part is burnt. The edges of the wood grain are gilded, standing out against the soot. The whole is U-shaped, evoking the consecrated horns of Knossos.

Three in the back, two in the front, one in the center. 3, 2, 1... like a countdown, a danced regression with the center as its destination.

Returning to Unity means going towards the Self in a great inner reversal. Going towards the Self means plunging into inner silence, entering within, returning to the home of body and spirit, this temple of the soul: Beith, the second letter of the Hebrew alphabet.

And to achieve this, one must cross the desert with the help of Guimel (three in Hebrew).

3 + 2 + 1 = 6 Vav is the six, the verticalized man who can make the link, unify heaven and earth to unify himself. The general shape of the calligraphic Vav can be found in the Carnyx.

The background consists of a red and black image in three parts. Highly dynamic, the photograph evokes an explosion.

In front of it, in the center, stands a wooden stick. It is planted in a rock, which itself rests on sand. Its features are highlighted in gold. It appears crowned with an animal head. It is very similar to a carnyx, the Celtic war trumpet. Yet the form taking shape within it remains mysterious, archetypal.

Behind this head, there is an empty space, in the centre of what looks like a hand open towards the sky. It sits in the axis of the white light from the photograph, the heart of the explosion.

Access to the stick is blocked by an antique beam of planks in the foreground. The two parts of this beam are joined at the base by a metal piece. The upper part is burnt. The edges of the wood grain are gilded, standing out against the soot. The whole is U-shaped, evoking the consecrated horns of Knossos.

Three in the back, two in the front, one in the center. 3, 2, 1... like a countdown, a danced regression with the center as its destination.

Returning to Unity means going towards the Self in a great inner reversal. Going towards the Self means plunging into inner silence, entering within, returning to the home of body and spirit, this temple of the soul: Beith, the second letter of the Hebrew alphabet.

And to achieve this, one must cross the desert with the help of Guimel (three in Hebrew).

3 + 2 + 1 = 6 Vav is the six, the verticalized man who can make the link, unify heaven and earth to unify himself. The general shape of the calligraphic Vav can be found in the Carnyx.

The background consists of a red and black image in three parts. Highly dynamic, the photograph evokes an explosion.

In front of it, in the center, stands a wooden stick. It is planted in a rock, which itself rests on sand. Its features are highlighted in gold. It appears crowned with an animal head. It is very similar to a carnyx, the Celtic war trumpet. Yet the form taking shape within it remains mysterious, archetypal.

Behind this head, there is an empty space, in the centre of what looks like a hand open towards the sky. It sits in the axis of the white light from the photograph, the heart of the explosion.

Access to the stick is blocked by an antique beam of planks in the foreground. The two parts of this beam are joined at the base by a metal piece. The upper part is burnt. The edges of the wood grain are gilded, standing out against the soot. The whole is U-shaped, evoking the consecrated horns of Knossos.

Three in the back, two in the front, one in the center. 3, 2, 1... like a countdown, a danced regression with the center as its destination.

Returning to Unity means going towards the Self in a great inner reversal. Going towards the Self means plunging into inner silence, entering within, returning to the home of body and spirit, this temple of the soul: Beith, the second letter of the Hebrew alphabet.

And to achieve this, one must cross the desert with the help of Guimel (three in Hebrew).

3 + 2 + 1 = 6 Vav is the six, the verticalized man who can make the link, unify heaven and earth to unify himself. The general shape of the calligraphic Vav can be found in the Carnyx.

Geöltes Akazienholz, Tanne, Stahl, Fingerfarbe,

Blattgold, Sandstein, Sand

176 x 100 cm, 3 Fotos je 130 x 180 cm – 2023

Geh zu dir selbst !

In einer Welt, die mehr denn je von der Realität entfremdet ist, leben wir in innerem Exil, aufgesogen im Kollektiv und von unserer wahren Natur getrennt.

Sich auf die Suche nach dem Selbst zu begeben, bedeutet, wieder Verbindung aufzunehmen mit jenem unsichtbaren Teil, der uns mit dem Lebendigen verknüpft. Es heißt, zum Akteur unserer Menschlichkeit zu werden, indem wir der Knechtschaft unserer Seele ein Ende setzen. Es bedeutet, unser Leben dem zu widmen, was größer ist als wir selbst.

Dies erfordert, das Bekannte zu verlassen, um unaufhörlich die Wüste der Existenz zu durchqueren, dieses Labyrinth. Von Land zu Land zu ziehen, indem man alles loslässt, um von einem erreichten Bewusstseinsstand zum nächsten, noch größeren zu gelangen.

Dies ist die symbolische Einladung zum Auszug aus Ägypten, wie er im Buch Exodus berichtet wird. Als erste all meiner Installationen hat sie den Weg für die nachfolgenden eröffnet.

Die Wüstenwanderung

Die Wüste ist der Ort der Entblößung des Herzens. Sie beschreibt die Erfahrung der inneren Leere jenes Wesens, das bereit ist, von sich selbst abzusehen. Denn dieses Wesen muss akzeptieren, zu sterben an dem, was war, seine Ängste und das Unbekannte zu durchqueren, um zu hoffen, sein gelobtes Land zu erreichen.

Nur der Einzelne, der erkennt, dass er im Exil, fern von seinem wahren Sein, nichts ist, und der sich daran erinnert, dass er aus Sternenstaub zusammengesetzt ist, ist bereit, die brennende Prüfung der Wüste zu ertragen.

Auf dieser Suche wird er von einem umfassenderen Bewusstsein geführt, dem Kamel, auf Hebräisch Guimel, dessen Form das Holzstück wiederaufnimmt... Guimel kennt den Weg und verfügt über ausreichende Wasserreserven. Man kann darin auch das chinesische Ideogramm erkennen, das den Menschen bezeichnet, der aufgerufen ist, sich in Bewegung zu setzen, um sich selbst zu verwirklichen.

A beam rises, at the end of which a wooden form is fixed. Or perhaps it is bronze.

This form is slender, as if shaped from a material that has been twisted, stretched.

It evokes movement, it invites to movement.

Behind it, a Japanese watercolor, or a sketch. A human silhouette emerges in profile, floating in the air like a specter. It carries a backpack. Its gaze turns toward the stars and the moon.

Akazie, Tanne, Vergoldung, Acryllack

163 x 30 cm, Foto im Rahmen 40 x 60 cm – 2023

Upon an old milky birch trunk rests a piece of wood.

It has the appearance of a mountain peak, atop which emerges a golden mass that stands out clearly from the rest. Could it be a volcano?

Its flank is covered in thick bark that contrasts with the velvety surface. The exposed parts of the wood reveal wave-like patterns dotted with aligned holes. It looks like a code deposited there.

Dot, dot, nothing, dot.

In the background of this scene, a sketched motif evokes a tornado.

Upon an old milky birch trunk rests a piece of wood.

It has the appearance of a mountain peak, atop which emerges a golden mass that stands out clearly from the rest. Could it be a volcano?

Its flank is covered in thick bark that contrasts with the velvety surface. The exposed parts of the wood reveal wave-like patterns dotted with aligned holes. It looks like a code deposited there.

Dot, dot, nothing, dot.

In the background of this scene, a sketched motif evokes a tornado.

Upon an old milky birch trunk rests a piece of wood.

It has the appearance of a mountain peak, atop which emerges a golden mass that stands out clearly from the rest. Could it be a volcano?

Its flank is covered in thick bark that contrasts with the velvety surface. The exposed parts of the wood reveal wave-like patterns dotted with aligned holes. It looks like a code deposited there.

Dot, dot, nothing, dot.

In the background of this scene, a sketched motif evokes a tornado.

Upon an old milky birch trunk rests a piece of wood.

It has the appearance of a mountain peak, atop which emerges a golden mass that stands out clearly from the rest. Could it be a volcano?

Its flank is covered in thick bark that contrasts with the velvety surface. The exposed parts of the wood reveal wave-like patterns dotted with aligned holes. It looks like a code deposited there.

Dot, dot, nothing, dot.

In the background of this scene, a sketched motif evokes a tornado.

Upon an old milky birch trunk rests a piece of wood.

It has the appearance of a mountain peak, atop which emerges a golden mass that stands out clearly from the rest. Could it be a volcano?

Its flank is covered in thick bark that contrasts with the velvety surface. The exposed parts of the wood reveal wave-like patterns dotted with aligned holes. It looks like a code deposited there.

Dot, dot, nothing, dot.

In the background of this scene, a sketched motif evokes a tornado.

Upon an old milky birch trunk rests a piece of wood.

It has the appearance of a mountain peak, atop which emerges a golden mass that stands out clearly from the rest. Could it be a volcano?

Its flank is covered in thick bark that contrasts with the velvety surface. The exposed parts of the wood reveal wave-like patterns dotted with aligned holes. It looks like a code deposited there.

Dot, dot, nothing, dot.

In the background of this scene, a sketched motif evokes a tornado.

Das Prinzip

Wir entspringen alle ein und demselben Prinzip, und wir tragen es im innersten Geheimnis unseres Seins.

Dieses Prinzip, der Grundstein aller geschaffenen Dinge, ist EINS, und das Geschaffene, das Vielfältige, ist berufen, EINS zu werden“, sagte Annick de Souzenelle.

Diese unbeschreibliche Kraft ist Bewegung. Ein mysteriöser Code oder eine geheime Sprache, ist sie hervorgebrochen und wirbelt seither alles auf ihrem Weg mit sich fort.

Mal schenkt sie Leben, mal Tod. Doch unaufhörlich erschafft sie die Wesen und die Dinge neu. So wenig wie das Auge des Tornados verschlossen ist, so wenig ist der Tod ein Ende an sich.

Das Leben verwirklicht die Wesen, indem es sie verwandelt – vorausgesetzt, sie lassen sich furchtlos von seinem Atem durchströmen...

Geöltes Akazienholz, Birke, natürliche Pigmente,

Blattgold und 24-Karat-Gold

123 x 30 cm, Foto im Rahmen 40 x 60 cm – 2023

Wie oben, so unten

„Was unten ist, ist wie das, was oben ist; und was oben ist, gleicht dem, was unten ist, zu Vollbringung des Wunders EINER einzigen Sache.“

Smargdtafel (anonyme Abhandlung)

Der Mensch ist dazu berufen, sich der Konfrontation mit seinen inneren Dämonen zu stellen. Hier ist es der Drache der Märchen, anderswo der Minotaurus, der Leviathan, der Basilisk oder ein anderes Ungeheuer... Ihr lichtvolles Gegenstück ist der Seraph.

Nur die Kraft des Schwertes erlaubt es, in diesen furchterregenden Schwellenhütern nicht den zu vernichtenden Feind zu sehen, sondern den Gegner – die unvollendete Seite unseres Wesens –, der zu integrieren ist.

Dann durchdringt das Schwert den Dämon und kehrt ihn um, offenbart seine Lichtdimension und schenkt das dazugehörige Wissen. Dieser Kampf ist ein Tanz, identisch mit dem, den Jakob mit dem Engel vollführte.

The two forms face each other in perfect axial symmetry.

Below, the dragon; above, the Seraph.

Akazie, Sandstein

130 x 47 cm, Foto im Rahmen 60 x 60 cm – 2023

Upon the stone plinth, impaled upon an iron rod, rests a tormented form, as if sculpted by the wind’s relentless breath.

In the background, a elongated, reclining image evokes, in stylized grace, the bare torso of a woman, bathed in muted light.

Die nackte Wahrheit

Nur ein reines und liebendes Herz, das bereit ist, in seine innere Finsternis hinabzusteigen, um die Dämonen zu konfrontieren, die sie bevölkern, wird sich der Wahrheit nähern können, bis es zur Trunkenheit gelangt, die mit der Freude ihrer Erkenntnis verbunden ist.

Es wird dann wissen, dass sie weder dies noch das ist, sondern dass sie ebenso unsagbar wie unerkenntlich, einfach und nackt ist.

Diese Ekstase ist die Frucht einer ‚Frauenarbeit und eines Kinderspiels‘.

Eine beständige Arbeit langsamer Befruchtung und Reifung durch aufeinanderfolgende Läuterungen und innere Mutationen.

Operationen, die nur dem Wesen zugänglich sind, das bereit ist, dieses Spiel mit der Demut und Einfachheit eines Kindes zu spielen.

Geöltes Akazienholz, Sandstein

143 x 33 x 20 cm, Foto 30 x 90 cm – 2023

Feuriger Vav

Meister Eckhart ruft unermüdlich jeden dazu auf, sich von sich selbst zu lösen in einer Arbeit der De-Identifikation.

Carl Gustav Jung bezeichnet diese Bewegung als den Prozess der psychologischen Individuation, einen alchimistischen Prozess der Verticalisierung des Seins.

Der Phönix, der Feuervogel, ist der Archetyp dieses Phänomens, wenn er an sich selbst stirbt, um gereinigt wiedergeboren zu werden.

Der sechste Buchstabe des hebräischen Alphabets, der Vav, der hier in der Zentralform des Bildes wiederkehrt, symbolisiert die von der Menschheit hergestellte Verbindung zwischen ihrem inneren Himmel und der Erde, wenn sie sich verticalisiert.

Eine leuchtende Form, von einem Gelb, das ins Rote übergeht, hebt sich von einem schwarzen Nachthintergrund ab.

Sie erinnert an einen Feuervogel, einen Phönix.

Man erkennt eine Achse, die sich in der Mitte wie eine Wirbelsäule aufrichtet, aus der Lichtstrahlen hervorschießen. Der gesamte Körper dieses Wesens strahlt, bis er in Flammen aufgeht.

Am Ende dieser langen Säule erahnt man einen nach links geneigten Kopf.

Das Ganze ähnelt einem Stab, der von einem Kopf gekrönt ist, oder einem Vav, dem sechsten Buchstaben des hebräischen Alphabets.

aufkaschiertes Foto 80x120 cm – 2023

On an oak beam rests a pebble. Upon this pebble, a dark and tortured silhouette: a figure seated in the lotus position.

Between its 'hands' (which merge with the rest of the body), a golden flame. Upon closer inspection, a concentrated face can be discerned.

It is a human form.

It seems to be completing something difficult, which has demanded great effort...

It is the Opus Rubrum, the Rubedo.

The golden flame is the result, a sort of philosopher's stone.

The exterior of the form is the color of Judean earth and calcined umber.

The interior of the form is purple. Gold dust seems to emerge progressively.

Behind this form, which could also evoke the Hindu god of wisdom, Ganesha, or an African sage, a red and black image. Like another silhouette, dancing, that of a will-o'-the-wisp.

The aura of the character?

On an oak beam rests a pebble. Upon this pebble, a dark and tortured silhouette: a figure seated in the lotus position.

Between its 'hands' (which merge with the rest of the body), a golden flame. Upon closer inspection, a concentrated face can be discerned.

It is a human form.

It seems to be completing something difficult, which has demanded great effort...

It is the Opus Rubrum, the Rubedo.

The golden flame is the result, a sort of philosopher's stone.

The exterior of the form is the color of Judean earth and calcined umber.

The interior of the form is purple. Gold dust seems to emerge progressively.

Behind this form, which could also evoke the Hindu god of wisdom, Ganesha, or an African sage, a red and black image. Like another silhouette, dancing, that of a will-o'-the-wisp.

The aura of the character?

On an oak beam rests a pebble. Upon this pebble, a dark and tortured silhouette: a figure seated in the lotus position.

Between its 'hands' (which merge with the rest of the body), a golden flame. Upon closer inspection, a concentrated face can be discerned.

It is a human form.

It seems to be completing something difficult, which has demanded great effort...

It is the Opus Rubrum, the Rubedo.

The golden flame is the result, a sort of philosopher's stone.

The exterior of the form is the color of Judean earth and calcined umber.

The interior of the form is purple. Gold dust seems to emerge progressively.

Behind this form, which could also evoke the Hindu god of wisdom, Ganesha, or an African sage, a red and black image. Like another silhouette, dancing, that of a will-o'-the-wisp.

The aura of the character?

On an oak beam rests a pebble. Upon this pebble, a dark and tortured silhouette: a figure seated in the lotus position.

Between its 'hands' (which merge with the rest of the body), a golden flame. Upon closer inspection, a concentrated face can be discerned.

It is a human form.

It seems to be completing something difficult, which has demanded great effort...

It is the Opus Rubrum, the Rubedo.

The golden flame is the result, a sort of philosopher's stone.

The exterior of the form is the color of Judean earth and calcined umber.

The interior of the form is purple. Gold dust seems to emerge progressively.

Behind this form, which could also evoke the Hindu god of wisdom, Ganesha, or an African sage, a red and black image. Like another silhouette, dancing, that of a will-o'-the-wisp.

The aura of the character?

On an oak beam rests a pebble. Upon this pebble, a dark and tortured silhouette: a figure seated in the lotus position.

Between its 'hands' (which merge with the rest of the body), a golden flame. Upon closer inspection, a concentrated face can be discerned.

It is a human form.

It seems to be completing something difficult, which has demanded great effort...

It is the Opus Rubrum, the Rubedo.

The golden flame is the result, a sort of philosopher's stone.

The exterior of the form is the color of Judean earth and calcined umber.

The interior of the form is purple. Gold dust seems to emerge progressively.

Behind this form, which could also evoke the Hindu god of wisdom, Ganesha, or an African sage, a red and black image. Like another silhouette, dancing, that of a will-o'-the-wisp.

The aura of the character?

On an oak beam rests a pebble. Upon this pebble, a dark and tortured silhouette: a figure seated in the lotus position.

Between its 'hands' (which merge with the rest of the body), a golden flame. Upon closer inspection, a concentrated face can be discerned.

It is a human form.

It seems to be completing something difficult, which has demanded great effort...

It is the Opus Rubrum, the Rubedo.

The golden flame is the result, a sort of philosopher's stone.

The exterior of the form is the color of Judean earth and calcined umber.

The interior of the form is purple. Gold dust seems to emerge progressively.

Behind this form, which could also evoke the Hindu god of wisdom, Ganesha, or an African sage, a red and black image. Like another silhouette, dancing, that of a will-o'-the-wisp.

The aura of the character?

On an oak beam rests a pebble. Upon this pebble, a dark and tortured silhouette: a figure seated in the lotus position.

Between its 'hands' (which merge with the rest of the body), a golden flame. Upon closer inspection, a concentrated face can be discerned.

It is a human form.

It seems to be completing something difficult, which has demanded great effort...

It is the Opus Rubrum, the Rubedo.

The golden flame is the result, a sort of philosopher's stone.

The exterior of the form is the color of Judean earth and calcined umber.

The interior of the form is purple. Gold dust seems to emerge progressively.

Behind this form, which could also evoke the Hindu god of wisdom, Ganesha, or an African sage, a red and black image. Like another silhouette, dancing, that of a will-o'-the-wisp.

The aura of the character?

On an oak beam rests a pebble. Upon this pebble, a dark and tortured silhouette: a figure seated in the lotus position.

Between its 'hands' (which merge with the rest of the body), a golden flame. Upon closer inspection, a concentrated face can be discerned.

It is a human form.

It seems to be completing something difficult, which has demanded great effort...

It is the Opus Rubrum, the Rubedo.

The golden flame is the result, a sort of philosopher's stone.

The exterior of the form is the color of Judean earth and calcined umber.

The interior of the form is purple. Gold dust seems to emerge progressively.

Behind this form, which could also evoke the Hindu god of wisdom, Ganesha, or an African sage, a red and black image. Like another silhouette, dancing, that of a will-o'-the-wisp.

The aura of the character?

Myriem und das Weibliche des Seins

Sie ist eine Schwarze Madonna, wie sie das Hohelied der Liebe besingt (Hld 1,5): ‚Ich bin schwarz und schön‘.

Man erkennt ihr vor Konzentration verzerrtes Gesicht. Sie ist ganz versunken in das Opus Rubrum (das Rote Werk). Das Gold beginnt unter dem Purpur hervorzubrechen.

Es ist die wahre Eros, die dem Feuer der Transmutation ihre Intensität verleiht und das Weibliche des Seins offenbart.

Die tanzende Silhouette im Hintergrund bildet eine Aura, eine mystische Pantomime – ein Augenzwinkern an die Hexen des Mittelalters, jene leichten Sündenböcke, die in schwierigen Zeiten der Volksjustiz ausgeliefert wurden.

Geöltes Akazienholz, Kiesel, Eichenholz aus dem 18. Jahrhundert, natürliche Pigmente, 24-Karat-Gold

132 x 23 x 18 cm, Foto 50 x 50 cm – 2024

Schin – Der brennende Dornbusch

„Der Dornbusch stand ganz in Flammen, und doch wurde er nicht verzehrt.“ Exodus 3,2

„Dort [auf dem Berg Sinai], bevor er den großen Weg der Befreiung aus der Finsternis der Knechtschaft antrat, erlebte Mose die Erfahrung des brennenden Dornbuschs.“

„Der brennende Dornbusch ist ein Symbol für den Baum des Lebens, den das Feuer des Lebens entflammt.“

Annick de Souzenelle

Le symbolisme du corps humain

It looks like a bronze sculpture. A triangular shape, furrowed with dark hollows and golden ridges.

A touch of red and gold dust is present in the black furrows.

The whole evokes the flames of a fire, a block of flames, with multiple flamelets.

This 'Fire' rests on a fine, slender sandstone stone that perfectly matches its base. It is no thicker than the fire itself.

In the background, fine lines, like threads of fabric or branches. It is barely suggested in a vignette. It looks like a sumi-e, one of those Japanese watercolors with Chinese ink.

It looks like a bronze sculpture. A triangular shape, furrowed with dark hollows and golden ridges.

A touch of red and gold dust is present in the black furrows.

The whole evokes the flames of a fire, a block of flames, with multiple flamelets.

This 'Fire' rests on a fine, slender sandstone stone that perfectly matches its base. It is no thicker than the fire itself.

In the background, fine lines, like threads of fabric or branches. It is barely suggested in a vignette. It looks like a sumi-e, one of those Japanese watercolors with Chinese ink.

It looks like a bronze sculpture. A triangular shape, furrowed with dark hollows and golden ridges.

A touch of red and gold dust is present in the black furrows.

The whole evokes the flames of a fire, a block of flames, with multiple flamelets.

This 'Fire' rests on a fine, slender sandstone stone that perfectly matches its base. It is no thicker than the fire itself.

In the background, fine lines, like threads of fabric or branches. It is barely suggested in a vignette. It looks like a sumi-e, one of those Japanese watercolors with Chinese ink.

It looks like a bronze sculpture. A triangular shape, furrowed with dark hollows and golden ridges.

A touch of red and gold dust is present in the black furrows.

The whole evokes the flames of a fire, a block of flames, with multiple flamelets.

This 'Fire' rests on a fine, slender sandstone stone that perfectly matches its base. It is no thicker than the fire itself.

In the background, fine lines, like threads of fabric or branches. It is barely suggested in a vignette. It looks like a sumi-e, one of those Japanese watercolors with Chinese ink.

It looks like a bronze sculpture. A triangular shape, furrowed with dark hollows and golden ridges.

A touch of red and gold dust is present in the black furrows.

The whole evokes the flames of a fire, a block of flames, with multiple flamelets.

This 'Fire' rests on a fine, slender sandstone stone that perfectly matches its base. It is no thicker than the fire itself.

In the background, fine lines, like threads of fabric or branches. It is barely suggested in a vignette. It looks like a sumi-e, one of those Japanese watercolors with Chinese ink.

It looks like a bronze sculpture. A triangular shape, furrowed with dark hollows and golden ridges.

A touch of red and gold dust is present in the black furrows.

The whole evokes the flames of a fire, a block of flames, with multiple flamelets.

This 'Fire' rests on a fine, slender sandstone stone that perfectly matches its base. It is no thicker than the fire itself.

In the background, fine lines, like threads of fabric or branches. It is barely suggested in a vignette. It looks like a sumi-e, one of those Japanese watercolors with Chinese ink.

Feuergehärtetes, geöltes Akazienholz, Sandstein, 24-Karat-Gold

146 x 35 cm, Foto 40 x 60 cm – 2025

The sculpture depicts a silver bird, its wings coated in burnt umber earth. It appears as if trapped in an oil slick.

Yet, one might also see a kind of butterfly, or an ear.

In any case, this element seems ensnared in the matter.

Die fünf Zustände der Seele

Unser Zustand klebt uns fest, wie ein Vogel, der in einer Öllache gefangen ist.

Der Seele wieder Atem und Leichtigkeit zu verleihen, gelingt nur um den Preis einer anhaltenden und mühevollen Anstrengung, jener ‚Frauenarbeit‘, von der oben die Rede war.

Vogel, Schmetterling, Ohr: so viele sichtbare Erscheinungsformen in diesem Werk und Symbole, die sich auf das innere Lauschen und die notwendigen Mutationen der Seele beziehen.

Geöltes Akazienholz, Tanne, Caplain (Gold, Platin, Palladium), gebrannte Umbra 146 x 35 cm, Fotos je 62 x 42 cm – 2023

Der Bogen und der Pfeil

„Steh auf, meine Freundin, meine Schöne, und geh zu dir selbst...“

Hohelied der Liebe 2, 13

Dieses Werk evoziert das Aufsteigen des Verlangens, des Eros, der sich in einer immensen liebenden Sehnsucht entfaltet.

Es ist auch die Kundalini der indischen mystischen Tradition, jene Energie, jenes Feuer des Lebens, das die Wirbelsäule emporsteigt und sich wie eine Kobra aufrichtet.

In der Mitte jeder Seite erkennt man die Form eines Keims auf der einen, eines eingewickelten Babys auf der anderen Seite. Beide sind dazu berufen, zu wachsen und als freie Wesen mit entfalteten Flügeln aufzubrechen.

A slender form. Like an angel that has spread its wings while tearing itself from the ground.

One could also see a cobra ready to strike. Or a female nude swaying her hips.

A swaddled baby, or a sprout hatched at the center of the sculpture. The seed’s envelope tears and stretches lengthwise toward the light.

In the background, an image of fire, like two hands enveloping the angelic form.

Geöltes Akazienholz, Pipeline, Judäa-Erde, Blattgold 146 x 35 cm, Foto 40 x 70 cm – 2023

Tsade – Die Hochzeit

Ich spürte, dass die Skulptur der Energie des sehr mysteriösen achtzehnten, gekrönten Buchstabens des hebräischen Alphabets, des Tsade, entsprach.

Er repräsentiert das Göttliche, das uns in der Vereinigung des männlichen Prinzips des Yod und des weiblichen des Noun ergreift, wobei die eine Seite die andere harpuniert. Es ist die Erfahrung, die Noë in seiner Ekstase beim Verlassen der Arche machte, nachdem er das Große Werk vollbracht hatte.

Das Stück besteht aus zwei Teilen, die ineinandergreifen, doch nichts Weiteres deutete zunächst auf diese symbolische Hochzeit hin.

Als ich die Färbung des zentralen Teils des Stücks mit Rot vollendete und meine Finger einfach gewähren ließ, wohin sie wollten, bewegten sie sich zur rechten Seite und enthüllten mir einen Fischkopf...

Wenn man weiß, dass Noun ‚Fisch‘ bedeutet... dann schloss sich der Kreis.

Geöltes Akazienholz, natürliche Pigmente und Vergoldung, Sandstein

130 x 28 cm, Foto 40 x 60 cm – 2024

Jona und der Leviathan

Jonas symbolisiert den Menschen, der zwischen seinen spirituellen Bestrebungen und seinen Ängsten entzweit ist. Er muss den Leviathan integrieren, das Monster der Tiefen, das seine inneren Finsternisse repräsentiert, damit das Göttliche in ihm wirken kann.

An einem schönen, sonnigen Tag im Jahr 2006 sah ich diesen kleinen Meeresgrund, der in tausend Feuern funkelte. Es schien, als wäre dort eine Schatzkiste ausgeleert worden, während Fischschwärme darum patrouillierten.

Das Holzstück ist mein Leviathan. In seiner Mitte wird Jonas durch die Leinwand dargestellt, die unter der Wirkung des saphirblauen Lichts zerreißt – desselben Lichts, das man im Bild neben dem Gold, dem Rubin und dem Smaragd findet. Der goldene Punkt im Zentrum von allem symbolisiert die Geburt des Jonas zum Selbst.

A strange form, evoking a fish, is mounted on a beam. This is the Leviathan. It appears horned.

It is as if its entrails have parted open for the viewer, revealing a polychrome and plastic world of great beauty.

At its center, fabrics tear apart against a purple background. And at the heart of these fabrics, a golden point. This is Jonah's soul revealed by divine action, the primordial light of sapphire blue.

This blue appears in the background, vibrant with color. There is also gold, emerald, and ruby.

These elongated forms are fry patrolling around a treasure lining the seabed.

A strange form, evoking a fish, is mounted on a beam. This is the Leviathan. It appears horned.

It is as if its entrails have parted open for the viewer, revealing a polychrome and plastic world of great beauty.

At its center, fabrics tear apart against a purple background. And at the heart of these fabrics, a golden point. This is Jonah's soul revealed by divine action, the primordial light of sapphire blue.

This blue appears in the background, vibrant with color. There is also gold, emerald, and ruby.

These elongated forms are fry patrolling around a treasure lining the seabed.

A strange form, evoking a fish, is mounted on a beam. This is the Leviathan. It appears horned.

It is as if its entrails have parted open for the viewer, revealing a polychrome and plastic world of great beauty.

At its center, fabrics tear apart against a purple background. And at the heart of these fabrics, a golden point. This is Jonah's soul revealed by divine action, the primordial light of sapphire blue.

This blue appears in the background, vibrant with color. There is also gold, emerald, and ruby.

These elongated forms are fry patrolling around a treasure lining the seabed.

A strange form, evoking a fish, is mounted on a beam. This is the Leviathan. It appears horned.

It is as if its entrails have parted open for the viewer, revealing a polychrome and plastic world of great beauty.

At its center, fabrics tear apart against a purple background. And at the heart of these fabrics, a golden point. This is Jonah's soul revealed by divine action, the primordial light of sapphire blue.

This blue appears in the background, vibrant with color. There is also gold, emerald, and ruby.

These elongated forms are fry patrolling around a treasure lining the seabed.

A strange form, evoking a fish, is mounted on a beam. This is the Leviathan. It appears horned.

It is as if its entrails have parted open for the viewer, revealing a polychrome and plastic world of great beauty.

At its center, fabrics tear apart against a purple background. And at the heart of these fabrics, a golden point. This is Jonah's soul revealed by divine action, the primordial light of sapphire blue.

This blue appears in the background, vibrant with color. There is also gold, emerald, and ruby.

These elongated forms are fry patrolling around a treasure lining the seabed.

A strange form, evoking a fish, is mounted on a beam. This is the Leviathan. It appears horned.

It is as if its entrails have parted open for the viewer, revealing a polychrome and plastic world of great beauty.

At its center, fabrics tear apart against a purple background. And at the heart of these fabrics, a golden point. This is Jonah's soul revealed by divine action, the primordial light of sapphire blue.

This blue appears in the background, vibrant with color. There is also gold, emerald, and ruby.

These elongated forms are fry patrolling around a treasure lining the seabed.

A strange form, evoking a fish, is mounted on a beam. This is the Leviathan. It appears horned.

It is as if its entrails have parted open for the viewer, revealing a polychrome and plastic world of great beauty.

At its center, fabrics tear apart against a purple background. And at the heart of these fabrics, a golden point. This is Jonah's soul revealed by divine action, the primordial light of sapphire blue.

This blue appears in the background, vibrant with color. There is also gold, emerald, and ruby.

These elongated forms are fry patrolling around a treasure lining the seabed.

A strange form, evoking a fish, is mounted on a beam. This is the Leviathan. It appears horned.

It is as if its entrails have parted open for the viewer, revealing a polychrome and plastic world of great beauty.

At its center, fabrics tear apart against a purple background. And at the heart of these fabrics, a golden point. This is Jonah's soul revealed by divine action, the primordial light of sapphire blue.

This blue appears in the background, vibrant with color. There is also gold, emerald, and ruby.

These elongated forms are fry patrolling around a treasure lining the seabed.

Akazie, Fasern, natürliche Pigmente (darunter Lapislazuli), 24-Karat-Gold, Eichenholz aus dem 18. Jahrhundert

40 x 150 cm, Foto 90 x 60 cm – 2023

This mountain seems torn from the earthly plinth, suspended in levitation.

It is a gray and black massif, steep and rugged, with ridges of silver.

A misty mountain landscape echoes it in the background.

The whole exhales peace and harmony.

Der ungrundhafte Seelengrund

„In dem Grund der Seele, der grundlos ist, gibt es kein Bild, kein Werk, kein Verstehen – weder von ihr selbst noch von irgendetwas anderem. [...]

In dem stillen Schweigen dieses Grundes geschieht die Geburt, da Gott sein Wort spricht.“

Meister Eckhart, Predigt 101

Akazie, Fingerfarbe, Silber, Kamelienöl

135 x 30 cm, Foto 40 x 60 cm – 2023

Die feste Hoffnung

„Das Licht leuchtet in der Finsternis, und die Finsternis hat’s nicht ergriffen.“

Johannes 1,5

Man muss weit genug in das Labyrinth der Seele vorgedrungen sein, bis hinein in die tiefste Finsternis, um genau dort die weiten Weiten einer grenzenlosen Fülle zu entdecken.

Eine nächtliche Landschaft. Bunte Lichter, wie lebendige Figuren, leuchtende Strahlen, die zum Himmel emporstreben.

auf Dibond kaschiertes Foto, 105x70 cm – 2025