A dialogue with materials, tools and artistic practice
Her long-standing interest in artistic practices and phenomena, in particular prints and drawings, began with a seminar on William Blake and John Flaxman at University College London and subsequent time in the Department of Prints and Drawings at the British Museum, which allowed her to become familiar with a wide range of prints from the collection. The subject of prints accompanied her studies in many ways: in the form of practical exercises at the Marburg Institute for Graphic Art and Design, through drawing practices in Venice, as well as in her master thesis Die Stellung der reproduzierenden graphischen Künste in England im ausgehenden 18. und frühen 19. Jahrhundert. Ansätze ihrer Rezeption in ausgewählten deutschen Kunstjournalen (The status of the reproductive printmaking in England at the end of the 18th and beginning of the 19th century. Approaches to their Reception in Selected German Art Journals), which addressed the act of translation as well as the role of reproductive print makers for the art market. Subsequently, she researched collections of fashion caricature and poster art at Kunstbibliothek in Berlin. In order to approach the study of prints it was essential to personally experience artistic techniques, materiality as well as tools that significantly influence the effect of the image. In addition, she developed an interest for the techniques of goldsmithing: soldering processes, casting processes or, for example, the setting of gemstones. A further interest, again in the three-dimensional realm, emerged for the production of template moulds for the casting of porcelain. Montblanc porcelain is the most translucent porcelain, it is at the same time the most difficult to master.
