Another drawing session for the second colour of the new wallpaper.

I usually start my work with photos and scanned media, like drops of ink, pieces of wool from textiles, and other bits and pieces I find that fit the subject. From these scanned files, I make vector graphics in Illustrator, as well as other visual symbols.

Hand-drawings, depending on the project, are often the last part of my work process. I feel that they are the most important and direct way to find out what’s on a mind, and I find this process to be very intuitive. It’s like the ideas flow out of my pen or brush and I just have to help it happen. These hand-drawn illustrations and written texts are often the finishing touches to my work. They are like the salt in the soup!

I like to use silkscreen prints because my concept is about repeating images, much like the military look of it’s namesake. The patterns are combined in wallpaper, fashion, plates and accessories, and furniture so that they all blend into one and disappear.

The story of the camouflage couture idea is as follows:

I had started a degree in Architecture at the University of Applied Arts in Vienna but never finished because I moved to Italy for several years and had a family. When I separated from the father of my children, I returned to Vienna and wanted to study fashion design. For the entrance exam we had to chose a theme, and do a fashion collection, so I chose ‘fashion for the housewife’. My designs worked with the fact that the woman of the house has historically been seen as a sort of household object; looking nice, perfect body, being sexy and speaking rarely. So, I thought the perfect clothing to go with this idea of the ‘housewife’ could be pieces that make her disappear; they would be the same color and print as the tiles in the bathroom, or as the sheets on the bed, all blending into one.

I now use these designs with wallpapers, home textiles, and fashion articles; all the things that we use to make our homes and lives perfect. The idea was to show the perfect home, swallowing the perfect housewife with her perfect husband, and make them ridiculously invisible so that they become accessorized by their wish to be seemingly perfect people.

This video shows how the layer of photo-sensitive liquid is put onto the screens for silkscreen printing.
Later the screens are exposed to UV light with the pattern lying underneath. I will be showing all the printing process in a new video soon.
Music by Bunny Lake, song: “Twisted Forever”.
Filmed by Thomas Koppler,

This video shows how the screens for silkscreen printing are assembled. I use screens in the same format, so it’s easier to create the patterns.
The screens are used for printing on textiles or wallpapers. I will be showing the printing process in a new video soon.
Music by Bunny Lake, song: “She’s On the Run”.
Filmed by Thomas Koppler,

In 2009 I learned how to make porcelain objects. I learned this from Barbara Beranek who is one of the most important porcelain artists in Vienna, Austria today. Her website is

The steps to creating porcelain are the following:
a. Making the basic sketch.
b. Creating the shape in clay.
c. Casting the shape with plaster.
d. Making the shape in porcelain using the plaster moulds, drying and burning of the raw porcelain objects in the kiln.
e. Glazing and burning at very high temperature in the kiln.
f. Adding final ornamentation if wanted and burning in kiln.

My family history and my identity as a human are important for my work. Some of my major influences were existent prior to my existence. Particularly my father’s family had some very traumatic experiences during the second world war. I never knew about the circumstances until I was about 17 years old. Then I started to investigate about my grandfather and took over the role of the researcher in my family. This has continued until today. Whenever there are things to discover about the family’s past, I get involved.

I have developed a mode of taking responsibility for anguish of past generations. This is due to family constellation and triggered by my personal interest in digging deep.

Very much in contrast with this “dark” side of my influences – which is psychologically intensified due to my exaggerated sensitivity – my interest in the arts began at the age of 6 or so. I really liked drawing and I loved collecting pens, pencils, stickers, and all the girly stuff that you can find in toy shops. I dressed in pink and have always loved things like pink and red flowers on my underwear. I wanted to become a princess or at least a ballet dancer mainly because of the way they were dressed. In my dreams I wanted to be a beautiful long-haired, skinny legged diva, with seductive movements and glamorous clothes.

These deep contrasts between dark sides of life and kitsch-elements are present to this day in my painting and illustration work.

I was also fascinated since my early childhood by diva-like, female personalities. In the last I year did a lot of research on one of my role models: Madonna. I also spent a lot of time trying to create a fictitious personality for my art. My persona was created  to be like my heroines: drug-consuming, man-devouring, sexy, punk-queen, with the looks of a classy prostitute with an intellectual and innocent air but above all with the support and love of an intact family and happy children to surround her.

When I was 16, we had 5 hours of art classes in school per week, and also had to do loads of research in our free time. It was then that I became familiar with techniques like silkscreen printing, photography, and pottery. This all helped lead me to my current pieces. For example, while I was in school, we had to take in a small object and talk about it’s relevance in our lives. I took a playing card with the king on it as my mother was an avid bridge player. The ornaments on the king’s coat on that playing card are the basis for my current work. Themes really absorb me, so I feel that I have to be careful about which I choose to work with.

My technique is secondary to the theme, but I find that I work best with multiple projects in varying medias that are in progress all at once. My techniques, be it applying ink with my fingers, or with a silkscreen, are all developed with the will to experiment and to try new things. I find that the best ideas sometimes come from unexpected results.