In my painting practice I investigate the impact of history and remembrance on an individual level. I use the medium of painting to build a new structure for the reflection of memory and the impact of images on the way memory is conceived. I look at how major historic events, such as the Second World War or nuclear bombing, affect society on the level of imagery; certain images stick with us through time and become icons in the collective memory.
In my paintings, human figures are cut out brutally from their surroundings. Portraits are formed of collected images and the surface of a painting becomes a façade. Working with these different layers, I question the complexity of the real in an age of manufactured copies. I draw parallels and create juxtapositions between historical facts about war and the notion of (my own) family history, historical traumas and contemporary problems of the trustworthiness and value of images.