2021. fineliner on cardboard, tin.

"Grenzland" is an examination of events from the spring of 2020.

The object is presented in the form of a board game that, at least in theory, allows you to close the internal land borders of the Schengen area. The difficulty here is that the borders are not labelled. Since we haven't used them for a long time, they have not only lost their meaning, but also no longer fit in well with the times. Above all, it is difficult to assign them.

On closer examination of the object, it is also noticeable that some of the borders are missing. It almost seems as if they have been lost in the course of time.

2020 - 2021


No. 0

unwearable necklace object from the series "Fernweh".
2020. porcelain.

No. 1

unwearable ring object from the series "Fernweh".
2020. porcelain.

No. 5

unwearable ring object from the series "Fernweh".
2021. porcelain.

No. 7

unwearable ring object from the series "Fernweh".
2021. porcelain.

"Fernweh" is a dream of faraway places.

The shapes of the objects originate from Asian temples. Torn out of their context and reassembled, they form exciting objects with new spaces.

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°50'18.9"N 4°22'33.0"E
48°35'51.5"N 7°46'07.4"E
49°37'18.4"N 6°08'52.4"E

vases from the series "Hoffnung".
2021. porcelain.

50°50'33.0''N 4°22'56.4''E

49°28'16.7''N 6°22'04.7''E


55°44'15.8''N 37°36'45.5''E

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

"Hoffung" means hope. In this part of my work I deal with places that are a symbol for the creation of freedom and peace.

For the sake of hope, it does not make sense to take just one place. That is why a group of objects should form the artwork here. In the first part of the work, the idea was to refer to a tea or coffee set, but without deciding on a particular cultural direction as contained in tea or coffee.

The idea is to create a whole out of several parts, just like Europe. It is about the visualisation of the growing together of the individual states. The resulting cups are formed from the ground plans of buildings where important treaties were signed. These shapes grow into a circle and thus form the cups. The circle is a symbol of unity, balance and stability. The inside of the cups is glazed. The outside remains raw - just like in Europe. Porcelain is a hard but also fragile material.

In the second part of the work, 3 additional vases were created. Here, the base and the upper opening are formed from the ground plans of the buildings of the 3 seats of the European Parliament. The circle is in the middle as a connecting element.
Here, too, the outside remains raw.

The appearance of the objects 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 as copy or likeness. This content is about depicting something.

This sub-group is about the government buildings in Europe. I would like to treat their permanence as observers of time thematically in my work by referring to the theme of the frame: Framing here stands for the different epochs that the building has lived through. In all times it has literally been a frame for what has happened in this place.

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

Nevertheless, wearing these rings is very uncomfortable and underlines the fact that wearing them can be an unsettling decision. The rings are made of steel, a material that was also used in the original buildings and symbolises 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 as imprint or embossment. In terms of content, it is an allegory that expresses that something has had an effect on us and has left its mark.

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

The external material of the object is fine silver and thus historically related to the splendour and glory of the Roman Catholic Church. It is also pure and very fragile. The interior is filled with cast lead - an apparent contradiction and contamination. Lead is probably best known for its weight and contains many metaphors for this work.

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

To further emphasise its non-wearability, the chain was made without a clasp and too short to be worn. The number of chain rings refers to the number of beads in 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 as neglect.

This subset of my works are the lost buildings. For the artistic realisation of this theme, I decided to take up the theme of the shroud and create a monument to the lost places. The objects show the buildings as if covered by a shroud. They are made of hand-carved marble.

All the pieces have a brooching on the back, which is supposed to refer to decorations or medals that people once received for conquering and destroying foreign cultures. But these brooches can never be worn because they are intentionally too heavy due to the material. They illustrate that today it is no longer possible to decorate oneself with the destruction of a culture.

All places are not located in Europe, but are connected to European history and 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 aim 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