I like to be inspired by the material. Mineral pigments have beautiful, pure colours. In the work they seem to react very differently. I notice this when I want to apply each brush stroke to the panel in one quick movement.
Gold leaf fascinates me, but what can I do with it? It was only when I saw this Japanese paper - washi - with its pronounced fibres that I knew I could cover one of those fibres with it!
Working with pencil is very pleasant. I work freehand, so it is not possible to improve. The open U-shape expresses silence very well, the drawing dissolves into nothingness. The variant with 2 layers of paper enhances the subdued character.
When I have a studio again after many years, the urge to create new works is great. But with what material? The longer the search, the greater the tension.
When I finally get hold of the pencil, it is new and surprising. The concentrated energy is released in an endless repetition of controlled, powerful lines. One of the 'rules of the game' is that the more than 1100 lines I draw freehand must not cross. The result is an empty cross.
I applied the ink to the paper in one fluid motion.