GEDÄCHTNIS PROTOKOLL ( Protocol by Memory ) 2017
Hardcover in dark-grey leather, sheets of paper cut so as to resemble shattered glass. 10.5 x 6 x 0.5 inches, unique, $750
Hardcover cardboard with strips of flesh-colored leather on three sides, inside fragile abaca with paper-cuts of fingerprint fragments. 14 x 6 x 0.25 inches, unique, $1800
Hardcover in black leather, pink calculation ( graph ) paper with cut-outs of the human body ripped, cut and torn. 12 x 5 0.5 inches, unique, $750
AD INFINITUM 2017
Hardcover in black leather, cut-outs of line network cut from black paper.
4.5 x 12 x 0.5 inches, unique, $700
Hardcover in slick olive-green cloth, thumb index with cut-out black abstract shapes glued on light grey sheets of paper. 6.5 x 9 x 0.5 inches, unique, $350
Hardcover, light grey cloth, paper-cuts depicting a human silhouette with symmetrical abstract shapes within the form of the body, 20 x 11 inches. $1700
Accordion, hardcover in black goat suede, parchment depicting heads with undulating nerves and arteries, 6 x 6 inches. $1500
White brailleprint paper depicting the topography of a head in relief, each page resembling terraces in paper-cut technique, cover bound in white cloth, 12 x 9.5 x .5 inches. $2200
Accordian book made of white parchment depicting a series of abstract microbes in paper-cut technique, cover bound in black chamois leather, slipcase 4.2 x 4.2 x .5 inches. $650
Paper depicting a series of hands cut out solely in straight or curved lines with incisions on fingers, cover bound in gauze, slipcase 12 x 12 x .5 inches. $1500
The excavation of different levels within a book is very significant to my work. It results in a transition or passage enabling the viewer to see through the book from front to back. When leafing through the pages a microcosm becomes visible, revealing a dense topography of the human body.
Having experimented with different materials, I now tend to prefer various kinds of paper and parchment for my cut-outs.Especially the use of braille paper can create a desired relief. The embossed dots allow for more space and light to enter between the pages than would normally be possible in a book. The emphasis is on the sculptural aspect, so that the image shown acquires a greater plasticity than would otherwise be the case.
The basic impression in all of my books is defined through the interaction of open and closed forms. The absence of material which has been cut out and removed is especially apparent in the technique of the paper-cut. The void, or negative space, is just as important in defining the shape of the paper-cut as the paper which remains in place. The paper from which I cut the image has become one with the work itself. The book is now a block from which I carve an image.
Over two hundred hand-cut books have been produced in this manner. I continue to dissect the body, thus hoping to extract ever more aspects of my interpretation of the human condition in our time.
Born in New York in 1957, son of german parents, I grew up in Manhattan and Woodstock. In 1970 the family moved to Germany. After graduation from school I spent four years in France studying illustration and then working free-lance in Paris. Back in Germany in the early eighties, I started painting and printing, soon showing lithos, drawings and oilpaintings in galleries in Hamburg, Cologne, Paris, Munich, Frankfurt and many other cities. Dance had a strong impact on my work, especially german Tanztheater. Amongst all the performances I attended, notably the several days I spent sketching during rehearsals of Pina Bauschs “Iphigenie auf Tauris“ in 1990 in Wuppertal were of great importance. My work has been represented at art fairs and art associations. Residency grants in Montreal, Canada and Sylt, Germany in 1998 and 2004, respectively.
Due to the lively international art and museum scene, I moved to Berlin in 1999, absorbing the vibrant atmosphere. Becoming more and more interested in contour and line than in color and painting, this eventually led to my first experiments in the field of artists books, searching for a way to incorporate volume and the third dimension in the otherwise flat technique of the paper-cut. In 2003, I began working with the bookbinder Christian Klünder in Berlin, who
binds all of my books according to my ideas, guided by his professional advice. Examples of these books have been acquired by many collections. They have also been shown in several venues throughout Europe, including state and national libraries, galleries and museums.