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Verbindungspunkte (Points of connection)

When addressing the challenge of developing an artwork for the Atelierhaus on Wilhelminenhofstraße in Berlin, I considered two main approaches. One was to scatter small points of impractical yet aesthetically logical arrangements throughout the territory, aiming to create moments of revelation, wonder, and intimacy—imagining artists walking through the hallway or garden, deeply immersed in themselves, suddenly encountering something unexpected. The other approach was to describe the experience of going to the studio: what it means to be there, to work, and how it feels as a state of being.

I chose to develop the second approach. Instead of creating a monumental or flashy work, I conceived an anti-monumental monument, grounded in personal experience. For me, going to the studio means letting go without guarantee—or acknowledging the limits of control, my boundaries and abilities. Something is spilled, dropped, or lost into actuality, into concrete existence, and from that point the work begins: working on my connection with the world.

In the beginning was the loss.

This large sculpture is a highly reduced version of this idea—partly due to the limited budget available. Three elements are joined together as if to catch something, yet going to the studio is about opening up, releasing, and recognizing that we cannot hold everything. One fragment falls and spreads slightly.

It is an upside-down fountain—an anti-fountain. Instead of the rich, proud, lavish fountains of inner courtyards that celebrate life, this one falls downward, exposing the first step of creating anything: connecting with the world by acknowledging our lack of grasp—letting go, and through that, connecting. And through the acceptance of this lack of control, one can feel complete.

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