Initially, my depiction, serving as a kind of mirror, concentrated on abstractly outlined modern caricatures of human portraits. I increasingly interspersed more figurative elements into the composition of the picture, and from around 2004 the inclusion of the individual in his environment took place, from which entire landscapes were created from 2007 onwards. The human being in his existence is abstracted, transformed and exposed to seemingly unreal contexts, which often want to transfigure themselves through an interplay of pure symbolic forces. Both personal and collective traces are lost in my melange of the big picture: the titan of the zeitgeist, who discovers and also frightens himself through art. My uncompromising view of things and their ruthless morbidity are not a mercy-demanding sacrifice of the afflicted, but should be interpreted as a vigilance that illuminates my reflection on inner and outer worlds – if only sometimes in the language Morpheus likes to speak.