sthune

Über:

Scholarships:
2023, 03.04. – 01.11.
artist residency Schloss Balmoral, of the land Rhineland-Palatinate, Koblenz/ D
2021, 01.11. – 01.02
Neustart Kultur of the land northrhine-westphalia (2x), Muenster/ D
2021, 30.04. – 01.06.
MKW Sholarship of the Ministerium for Science and Culture II., Land NRW/ D
2020, 30.06. – 31.08.
MKW Sholarship of the Ministerium for Science and Culture, Land NRW/ D
2013, 02.09 – 30.09.
“Mythos, Moderne, Morgen“, Scholarship Residency at College for Music and Art, Montepulciano/ IT
Practices:
2021, 01.11. – 30.12.
Neustart Kultur, support for freelance work, Land NRW/ D
Exhibitions:
2024, 01. – 04.02.
„Everyone but Caspar!“, Kunsthalle Niendorf und Künstlerhaus Sootbörn, Hamburg/ D
2023, 20.06.-26.06.
„out of home: Edition II. Marseille“, out of home artspace, Berlin, Marseille/ D/ Fr
2022, 09.12. – 30.12.,
„ARTSTADT ALLSTARS“, ARTSTADT (gef. v. Kreativgesellschaft Hamburg), Mönckebergstr. 2-4,
Hamburg/ D
Studies:
2016 – 2019
Art History, Münster/ DE
2015 – 2016
University of Arts (UdK), Berlin/ DE
2014 – 2015
Masterstudent of Prof. Henk Visch
2013
Bezalel Academy of Arts and Design, Jerusalem/ IL
2012 – 2014
Academy of Fine Arts, Prof Henk Visch, Münster/ DE
2011 – 2012
Academy of Fine Arts, Prof. Lucy Mc Kenzie, Düsseldorf/ DE
2008 – 2011
Academy of Fine Arts, Prof. Maik and Dirk Löbbert, Münster/ DE

Beitrag:

Places and cities with their cultural aspects and natural landscapes are, among other things, crucial for my artistic work and the structures, the present and history flow into my artistic work in a special way and become solidified in it. Special locations and places for the production and communication of contemporary art, art discourse and art education with its open art projects, exhibitions, ideas workshops and workshops would influence my work in a special way. With a support of the project and my freelance work, scholarships for freelance artists would have a particularly lasting impact on my artistic work. I would be happy to get to know different places with all its communicative, dialogic and collaborative work aspects and to get to know and process the individual regional history based on landscape, cultural, industrial, social and life-technical facets in order to be able to reflect these experiences in my artistic work. I find an intensive exchange with local people interested in art and other artists particularly beneficial for my work, which arises from and documents certain communicative contexts. Last but not least, artistic forms are an expression of one’s own perception, while they allow one to experience trains of thought and enable communication between subjects. In my work I deal with artistic forms that function as media of communication between subjects and formulate their own sign systems and can be superior to the linguistic communication model in many ways. In my artistic study, contemporary art is viewed as a communication medium and enables a special form of exchange and the discussion of socio-political issues. For Vilém Flusser (Vilém Flusser, “Into the Universe of Technical Images”, 1985), media are image or written surfaces through which we look like through a window. We do not see the object of the medium, letters or shapes, but what we read, a story or what we are used to. Media can be used like window panes and only allow us to see what is behind them. In my painting work I also try to overcome this superficial phenomenological perspective. In contrast to language, the image is even more of a symbol and awakens far more associations and therefore offers more potential for conveying experiences. The technical image, like the analogue, forms a space between what can be perceived. The space in between is ignored and barely noticed. The painterly works draw attention to a diverse surface structure in the analogue area and continue in the visionary area with their
intellectual involvement.