Welcome to my site.
To introduce my work, I would like to describe a few memories on which it is inspired.
From the 3rd grade primary school I was allowed to illustrate the holidays and Sinterklaas with a blackboard drawing because my favorite teacher could not draw but could tell very visually.
For me it was the other way around.
In the 1950s and 60s, my mother drew the clothing models for the Marion and the Wehkamp catalog.
She taught me to draw hands, heads and clothing folds, because the bar became a little higher with every sign.
As Easter was the hardest, because a passion story, drama suddenly came up.
My father was a model for the Christ with a crown of thorns because he had such a beautiful skinny face.
I added the tears of blood myself.
For the crucifixion on Golgotha the torso also became important and you could copy it from the school records about Greeks, Carolingians and Normans or check it at home in the Hans Kresse comics in the Donald Duck.
Before going to bed, my father liked to talk about what he saw when he listened to Tschaikowsky or Khachaturian and I could see it all: up-and-coming Tartars on small bright horses, frying meat between saddle and sweaty horse back.
When they were fought, the meal and sword dancing followed around a large fire.
When the black and white TV came I watched Pipo the Clown at the neighbors and I found Felicio, the somewhat sad gypsy, much more fascinating than Klukluk, Hiep and Snuf & Snuitje together.
At the end of the 1950s we were in Yugoslavia on a primitive campsite with a self-built caravan.
My father took a bottle of slivovitz and 3 dark men with a violin, accordion and double bass after closing time from the state café and managed to cram them into our little caravan.
Melancholic Balkan sounds woke me up around midnight and my fascination for the gypsy culture was confirmed by the goose bumps on my arm. Both image and sound stayed with me and you will find it on my site.
Call it danceable sadness or romance; life at its deepest and most beautiful.