I am particularly interested in the approach of creating an ideal image of an imaginary nature. The green-screen process works like an aestheticization for one's own reflection and projection in relation to the environment. The natural environment is deprived of any form of function and liveliness and its purely representative appearance is enhanced and cultivated. The observation of nature shifts from an existential vegetation to a direct compositional staging, to an illusion.

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In their provisional banality and monochrome colourfulness, the objects are based on the technical process that is often used in film and photo post-processing. Green or blue areas (green-screen/ blue-screen technology) are installed in order to separate a certain area from the foreground. In post-processing, the isolated area can now be filled without affecting anything else. This visual effect takes place in what is known as compositing, in which two or more elements that have been recorded or created separately from one another are combined into one image. The key colors green and blue should stand out as far as possible from their environment. ​

 

Nevertheless, the scenery-like objects are not completely detached from their place of origin for me, but convey a possible experience of nature through their physicality and installation. Common associations of action and benefit apply to these minimally executed notes. The constant evaluation, objectification, appropriation, i.e. the entry of human culture (anthropomorphic) searches for a purpose of existence.