On the occasion of the 19 year anniversary of my first exhibited and sold artwork I opened up my sketchbooks, arranged them with paintings and recently drawn works as well as photographic images, sketches made with cameras – in the bar I exhibited for the first time. The lines of images from 2000 until now, 2020, show interests and first lines of topics and subjects in an analog way; a row of 20 years of sketching and comparing a digital image account like facebook, instagram or twitter without linear time rows but rather like slots in space. Sketches between life studies, organized phantasy, poetry and e-motion and my philosophical studies: a slight loss of picture in language, dissolving images in abstraction and abstract thought building bridges between text, image and the classical approach of sketches in order of the basis instrument of the “real” developed artwork.

The exhibition shows portraits, moments in time and space, combining theory, poetry, images of memory, images of mind and images of art history.

According to a story in ancient greek the beginning and roots of portraiture lie in a relationship. A woman from Korinth realizes that her beloved has to take a journey and in this awareness of a future loss and the fleeting moment notices the shadow image of her beloved, screened through candlelight on the wall. She grabbed a piece of wood charcoal and traced his silhouette on the wall of her room. Rooted in relation to what's in front of you, analyzing reality in the moment of drawing the line leading in form mixed with the desire of organizing chaos, thoughts and feelings in creation corresponding to paper might be the attracted definition of art.

Leaving theories of perception, copy, image, effigy and religious scepsis of making pictures as well as the possibility of enlightenment through the art behind. The exhibition focuses on phenomena and appearance through lines, forms and picture machines giving glances of reality. Polaroids, the impossibility of reflecting digital images, mirrors and narrow portraits focussing without aperture, flat and the rejection of picture editing in lines and photocopy demands a cognition of points of time and became a method of sketching. Without preferences between “true” and “created” nature in a classical opinion of academic art in theories of mimesis, imagination and idea and conclusions in abstract thought “old and new sketches, 3 paintings and some music in a bar” 2000-2020 shows an approach of just being an eye with hands, eyes without scruples, no philosophical art, no painters that think but a try to say something as an artist, recognizing and concluding in an exhibition, realizing that some sketches stand on its own piece of paper.