10 visuals for FACTORY — the creative lab at Museum Brandhorst. The FACTORY is a new and innovative art education format that offers visitors virtual and analog programs to discover art and experiment with it in their own projects and a variety of media. The visuals illustrate the FACTORY’S “theme worlds” — various topics around contemporary art, which help you navigate and explore the museum’s collection.

Art direction: PARAT.cc

Portrait of the Artist as a Writer is a collection of short stories, quotes and drawings. Published and printed by Colorama, 12x18cm, 60 pages, risoprinted in pumpkin and purple, perfect binding with glue, first edition of 300, Berlin 2022.

Buy here.

A picture book homage to the world of noodles! All artworks by Anna Haifisch and Stefanie Leinhos. 21x26cm, 28 pages, risoprinted in yellow, black, orange and aqua, silkscreen-printed cover on grey carton, coil-binding with reading sign. First edition of 750, published by Colorama, Berlin.

An artwork that is considered as characteristic of an artist‘s oeuvre is often referred to as a signature piece.
A »Signature Piece« may also refer to a large painting of an artist’s signature on a wall, however, this may not be representative of said artist’s oeuvre.
If the painted signature is not signed, and is then removed after the exhibition period, the artwork will be impossible to sell (but very easy to store).

Side-specific wall drawing at Salzamt Linz as part of the exhibition »Handapparate – Keine Kunstbuchmesse«. Text editing by Molly Cranston. Photo credits: Florian Voggeneder

The Possible Implausible takes you on a jaunt through familiar looking landscapes with quirky vegetation, bumpy roads and several alleged dead-ends. Referring to »The Plausible Impossible« – an episode of Disneyland’s television program from 1956, explaining how impossible things can seem plausible in drawing and animation – this zine may be a deadend narration. But remember: you are not falling as long as you are not looking down.

16 pages, 14×20 cm, b/w photocopy, first edition/100 copies, Nieves (ed.), Zurich, 2019.

First published by Lagon Revue in Gouffre, 2017. Order here.

… how can you escape?

Published by Éditions Matière as part of collection»matériaux«.
Photo credits: Nicolas Frühauf, 2018.

Joint show with Anna Haifisch at Bistro 21, Leipzig in 2017.
Photo credit: Christian Bär.

Signed and numbered. First published by Sandwich Mixto, Madrid in 2017.

Quoted from: Dydo, Ulla E. / Rice, William:
Gertrude Stein: The Language That Rises: 1923-1934, Northwestern University Press, 2003.

Dedicated to F. Rusch, D. Duck, G. Stein

On the occasion of »mach’s dir nicht so schwer mit mir« – joint show with Tim Romanowsky at Alabama, Sir, Leipzig in 2015.
Photo credit: Jakob Adolphi.

On the occasion of »Terrific Fun«, group show at Harpe 45, Lausanne. All images by Harpe 45.

»The Long Goodbye« is a two-colored zincography (zinc plate lithography) that comes as a jazzy fold-out poster.
The drawings for both color layers were made directly on the zinc plates and only existed for the time being of the printing process itself. The plates were washed out afterwards and handed over to the next user.
— Say Goodbye to the original drawing and Hello to the original print!

printed by Stephan Rosentreter in 2014.
photo credits: Peter Hermans

The edition is sold out.">

solo show at Artists Unlimited in Bielefeld, October 2015.
Thanks to Heinrich Holtgreve for the pictures!

The black and white drawings explore all possible variations within a single image motif. They are based on the idea that a variation is not only a different manifestation of the original but an original itself. By showing those possibilities at the same time and next to each other, I state them as equal forms of existence. The drawings are made with fineliner and black ink. The final and presented work consists of real size copies of the drawings. The copying is a logical consequence, that questions the term of »the original«.

Part I/III, evolved during a scholarship at the Saxony-Anhalt Arts Foundation and Kloster Bergesche Stiftung

The impossibility of an exact repetition was a calculated part of the production process of this work. Since the curtain’s curve was cut free-handed, divergences occur that suggest a passing of time. The loosely hanging of the paper is provoking it to move when a viewer is passing by. Thus blurring the line between displayed space and time and the scene in which the viewer is located.

Katharina Köhler, Wolfgang Schwärzler, Maurice Göldner and Aurelia Markwalder invited me to accompany their type specimens with some of my black and white drawings. The booklet had a small print run and is already out of stock, but a few pages are displayed here, featuring Lindenau Grotesk by Wolfgang Schwärzler and London by Aurelia Markwalder. For more information about the fonts, please visit the websites of Katharina, Wolfgang, Maurice and Aurelia.

Give it to someone special!

The edition is sold out.

Repetition causes variation — this is the paradox my first comic is based on. The curtain is lifting but will never be entirely revealed. Time is passing and at the same time standing still. Where am I and what am I looking at? And Is there something I should know?

Printed at We make it. The edition is sold out.

Sometimes there is no better way of reproduction than to simply do it again

Throwing Stones will be produced on demand, that means only, when someone is asking for it. If you order Throwing Stones I will tear the paper to format, bind the book and do the drawings. That is why you will get your very own copy. It is not about exclusiveness, but about other ways of reproduction and the question, how these may affect terms like copy and original, signature and numbering.

Get your copy of Throwing Stones for 14€ (intl. shipping included).
If you don’t use Paypal, please contact me via . Thank you!

[nicepaypallite name=”Throwing Stones” amount=”14.00″]

The small artist-run publishing house Gloria Glitzer from Berlin, invited me to do the 3rd edition of their About Series. The About Series is a mobile space that exhibits visual artists. It consists of a four-sided leporello and an enclosed booklet. You can order About #3 here.

The silhouettes are made up of several layers of paper. Together, they form the final image. The papers are held by two clips and hang loosely from the wall, thus casting shadows and giving the silhouettes a three-dimensional effect. This effect is sometimes enhanced by the bold colour contrasts and sometimes counteracted, when the colour perspective does not coincide with the spatial perspective. Symmetries and repetitions enhance the abstractedness of each cell, which can only be read in their combined form.

The series of 64 linocuts documents the exact number of possible combinations of the image’s underlying shapes and colours. The 64 linocuts were printed from a single plate, which was cut into the three shapes and pieced together differently for each printing cycle.

Since 2007 a series of original graphic linocut books is published by Lubok Verlag. For each volume publisher and artist Christoph Ruckhäberle invites about 10 contemporary artists to realize their own artistic signature in linocuts. This is Lubok 10 with 48 two coloured linocuts by Ines Brands, Markus Färber, Tobias Jacob, Christoph Koester, Stefanie Leinhos and Alexander Schmidt.
(Source: www.lubok.de)