Between Chaos, Geometry & Consciousness

I really appreciate that observation — you described the exact tension I try to create in these pieces. I’m always trying to balance structure with disruption so the work keeps moving rather than feeling static or overly controlled.

It’s interesting that you picked up on that so quickly. I feel like artists who work with rhythm and looseness in their own way tend to notice those details immediately. I’d genuinely love to see some of your watercolor scenes too.

Das ganze schaffen begann damit dass ich in der schweiz als Sklave verdingt wurde.

Damit ich dieses Leben aushalten konnte begann ich mich in der bildenden Kunst zu beschäftigen. Daher kommt der Stil den man heute erkennt. begin ziemlich gnau vor

50 Jahren.

Thank you for sharing that. I think that tension between structure and release is something many artists understand deeply, even when our mediums are completely different.

For me, the roots of this work go back nearly 50 years. During a very difficult period of my life in Switzerland, art became a way to endure emotionally and mentally. What began as a personal survival mechanism slowly evolved into the visual language you see today — fragmented patterns, shifting geometries, repetition, distortion, and movement.

Over time, I realized I wasn’t simply creating abstract forms. I was translating memory, pressure, emotion, and inner states into visual rhythm. That balance between control and chaos became central to everything I make.

I find it fascinating that your watercolor travel scenes carry a similar pull in their own way. It shows how different artistic paths can still arrive at the same emotional truths.

Ja, mit dem uralten Pop Art Studio

Thank you — I’m glad that piece stood out to you. The bottom right composition is one of the works where I explored movement, rhythm, and visual tension in a more intense way, almost like a collision between structure and energy.

Yes, these works are created digitally, but the process is very layered and intuitive rather than purely technical. I approach each composition almost like a living system — building patterns, distortions, and color relationships gradually until the piece begins to develop its own emotional atmosphere.

What I enjoy most about digital abstraction is the freedom to experiment with perception and motion in ways that feel both controlled and unpredictable at the same time.

I’d actually love to know what specifically drew you to that particular piece — was it the color movement, the pattern repetition, or more the emotional feeling behind it?