I originally developed my epeaks technique for the representation of labyrinths. Labyrinths exert a magical attraction on me as a graphic, geometric figure, but in contrast to the concrete art of trying to eliminate feelings and other sensations, labyrinths also interest me because of their symbolic and cultural-historical aspects. It was the constructive and sculptural character of the labyrinths that challenged me to use color in their materiality.
The first „Labyrinth of Life“ from 2006-2007 I originally painted in the classical layer oil painting, but the result I found unsatisfactory – flat and powerless, a full contrast to the power of the labyrinths. The frustration and my admiration for Pointillism and Impressionism were articulated in further experimentation. And above all the pasty, sculptural and plastic power of the oil paints led me to first create the background pointillistically-haptic. The first step towards a plastic demarcation of the geometric figure was only by means of the white oil paint. I chose the whites deliberately for my association with the transferred meaning of the tabula rasa (Latin for „rewritable writing tablet“), which, in my opinion, fits very well as the „a blank tablet“ to symbolize the labyrinth path. By going to the center of the labyrinth, we rewrite our way.