2019 - 2021


"About space and identity" is a visualization of European cultural identity within the field of jewellery and objects. It deals with the rooms, areas, zones and districts of European history.

For the visualization of the European cultural memory, 5 points of view were developed. They show not only the plurality of the cultural memory, but also visualize the European struggle between unity and diversity. Furthermore, they illustrate the different facets of the history of the continent. In relation to each of these five points of view, a work has been created that expresses ideas related to important places in Europe.

2020 - 2021


50°50'33.0''N 4°22'56.4''E

49°28'16.7''N 6°22'04.7''E

50°50'17.4"N 4°22'33.9"E


55°44'15.8''N 37°36'45.5''E

cups and pot from the series "Hoffnung".
2020. porcelain.

„Hoffung“ is esperance or hope. For this part of my work, I work with places where for Europe and the European Union important contracts were finally signed. Those places that are a symbol of the creation of freedom and peace.

For the hope it is not useful to take just one place. Therefore, here a group of objects shall form the art piece. The idea was to refer to a tea or coffee service, but without the decision for a specific cultural direction, like it is included in tea or coffee.

A whole should be created from several parts, just like Europe. It is about the visualization of the growing together of the individual states. The cups are formed from the ground plans of special buildings. Those forms grow into a circle and by that they form the cup. The circle is a symbol for unity, balance and stability. The inside of the cups is glazed. The outside will be raw - just like Europe. Besides porcelain is a hard, but also breakable material.

The appearance of the cups will also remind some viewers of the ivory tower.

2020 - 2021


60°10'21.4"N 24°55'59.4"E

ring from the series "Abbild".
2020. steel.

different rings from the series "Abbild".
2020. steel.

"Abbild“ can be translated to copy or effigy. In this content it is like picturing something.

This subset is about the governmental buildings in Europe. I would like to treat their permanence as an observer of time thematically in my work with referring to the topic of the frame.Framing here stands for the different epochs that the building has lived through. In all the times it has literally been a frame for the happenings inside this place.

For the jewellery part of this subgroup the buildings are created as different frames, that frame the fingers of the wearer. This refers to the fact, that in today‘s Europe, where most of the countries are democracies, the people decide about the inside of the building.

Nevertheless, wearing those rings is really uncomfortable and emphasizes the fact, that wearing can be a troubling decision. The rings are made out of steel, which refers to a material also used in the original buildings and which symbolizes strength and durability.

2019 - 2020


50°02‘04.8“N 19°10‘51.6“E

object from the series “Abgrund“.
2020. old plate, copper, silver.

"Abgrund“ is the abyss. Here it is about the burnt places that have such terrible memories that nothing new can ever arise on them.

For visualization, I use the shape of a classic serving tray. The material is intentionally ignoble.

The created place, that is placed on the plate does not show itself directly, but through fine threads, which are directed upwards in small groups. They trace the ground plan of the original location. Their appearance is aggressive. While soldering, the copper wires got deformed and appear even more reddish.

The plate deformed as well and visualizes the destruction, that can be felt within this place. A whole spectrum of poisonous appearing colours developed caused by this process. The plate can never be used again, just like the real place. It was strongly contaminated by the events.

2019 - 2020


41°54‘08.5“N 12°27‘14.1“E

unwearable pendant object from the series “Prägung“.
2020. fine silver, lead.

"Prägung“ can be translated to embossment or imprinting. In this content it refers to an allegory, that expresses, that something has affected us and has left its marks.

This subset of objects deals with the role of the church in European history.

The outer material of the object is fine silver and thus revered historically to the splendour and glory of the Roman Catholic Church. Besides, it is pure and very fragile. The inside is filled with casted lead - an apparent contradiction and contamination. Lead is probably best known for its weight and contains many metaphors for this work.

The object carries a intense emotional message and should therefore be designed, as if it should be worn close to the heart, although it is far too heavy to be ever worn.

To emphasize the unwearability even more, the chain was made without a clasp and too short to wear. The number of chain rings refers to the number of pearls of a rosary.

2019 - 2020


19°26'05.8"N 99°07'52.9"W

unwearable marble brooch object from the series "Vergessen".
2020. hand carved marble.

34°32‘50.8“N 38°16‘26.6“E

unwearable marble brooch object from the series "Vergessen".
2020. hand carved marble.

36°50'43.0"N 10°19'32.0"E

unwearable marble brooch object from the series "Vergessen".
2020. hand carved marble.

37°42‘52.8“N 41°24‘36.4“E

unwearable marble brooch object from the series "Vergessen".
2020. hand carved marble.

"Vergessen“ is the German word for oblivion. The word can also be translated to neglect.

This subgroup of my pieces are the lost buildings. For the artistic implementation of this topic, I decided to pick up the subject of the shroud and to set a memorial to the lost places. The objects show the buildings as if covered by a cloth. They are made of hand-carved marble.

All pieces have a brooching on the back, to refer to decoration or medals that people once got for conquering and destroying foreign cultures. But those brooches, they can never be worn because they are deliberately too heavy due to the material. They illustrate, that today it is not possible any more to decorate oneself with the destruction of a culture.

All places are not located in Europe, but connected to the European history and the European cultural memory.




brooch from B series

2019. silver.

B2_2 & B2_3

brooches from B series

2019. steel.


brooch from B series

2019. silver.


brooch from B series

2019. silver.

The B-series deal with structures of the urban space.

They imitate and reinterpret the spaces that surround us. New structures are also created by maintaining process-related structures.

2016 - 2018


reliquiae B.I.-B.V.


2016. porcelain; brass, gilded.

reliquiae A.I.


2016. porcelain; silver; leather.

exoprostthesis A.I. u. A.II.

experiential objects.

2016. beech wood. porcelain. glass.

solium A.I.

treasure object.

2016. silver. cherry wood.

naturalia E.I-E.II.

bowl objects.

2017. tombac.

ovum A.I.& ovum A.II.

egg objects.
2016. nickel silver, tombac.

solium A.I.

treasure object.

2016. silver. cherry wood.

The subject of my investigation was the phenomenon of collecting. The goal was to create a contemporary collection of jewelry and experiential objects.

Some of the pieces were created as part of my diploma thesis. Others were created later and through funding from the Caspar David Friedrich Scholarship from the state of Mecklenburg-Western Pomerania.

naturalia A.I. - C.III.


2016. porcelain, steel, stainless steel.

naturalia D.III.

bowl object.

2017. bronze.

naturalia D.II.

bowl object.

2017. bronze