NACKT IST NICHT MMER SCHÖN, ABER IMMER WAHR. Nakedness is not always beautiful, but it is always true. This conviction forms the basis of my artistic stance, which understands the human being not as an idealized figure but as a vulnerable existence. Painting becomes an act of undressing—not only of the body but also of the masks that the individual wears within the social fabric. What becomes visible is what pulses beneath the surface: desire, doubt, alienation, love. Here a radical counter-position emerges against the polished iconography of contemporary culture, which locks people into roles and norms. My figures are not created out of a will to provoke but out of the necessity to bring truth into the image. Nakedness, in this sense, is not ornament but method—an aesthetic approach to the essential. It refuses beauty in order to produce truth. In this way, my work resonates with traditions that range from Max Beckmann or Georg Baselitz to the body concepts of performance art, yet it asserts its own uncompromising visual language, making visible the fractures of human existence.

At the center of this pictorial world stand various protagonists such as Helga or Meryth—archetypes of the modern woman, oscillating between self-will and convention. They are not muses in the classical sense but embodiments of a tension that is both socially and existentially charged. Through them, the image becomes a resonant space for questions of autonomy, adaptation, and the search for identity.

The twelve beer strokes, set as my signature, function like a code—a reference to the unvarnished and the essential that remains inscribed within the paintings. They mark the conviction that art is not decoration but research into the human condition. Anyone who sees only painting here misses the core: it is not about representation but about disenchantment, not about surface but about depth, not about beauty but about truth.