In general, I would say that my art is a floating art dominated by the space and time we are living in or let’s say I am living in. I think even nowadays art should reflect on present state issues regarding western societies or the inner self as a western woman.
At present, for example I am very dedicated to the topic «living in the city, or living in the countryside», which has to do with my present situation. I will move home within the next months and I am constantly asking myself: «shall I move back to the city or live somewhere in my beloved countryside looking at Lake Zurich and the Glarner Alps?»
I am also very dedicated to topics as transcendence, death, and rebirth in nature as well as eternity.

Well, that’s some question. I think regarding some issues in my life I am quite conventional, but when it comes to expressing myself through my paintings I reflect on some unconventional traces. I use gold a lot going back to the middle age paintings, where gold represented <<eternity>>. This moment of eternity can be seen in all my paintings whether I talk about transcendence, awakening of the matter or the eternity of mountains. Even my colorful paintings, where I am focused on the essence of what dominates what, color the form or form the color, show traces of gold as the final layer.

Me and my background set me apart from other artists. I don’t want to copy any styles nor be connected to present popular styles. I reflect on my background and my personal knowledge. Painting people and their stories for example is my method of understanding the world around me, my concerns, my amusements, and my critical view on the world I live in. I resort to only one encoding and this has to do with my sinology studies of Peking Opera. Here character traits are assigned to the face paintings. I use these in my paintings. Black, white, yellow, green, blue, pink, and red define the good or bad in people. They are the image of the soul I want to catch and not the visual reality of a face. For this we have the art of photography.

I never start my paintings with the exact idea of every detail. It starts with a set setting, but values and meanings are defined through the process of my creation.
If I had to define my painting strategy as a viewer, then I must see, perceive, capture and understand the world from my point of view.
In the painting process of my colorful paintings, one can speak of the spatio-temporal absorption of colors and forms, and thus the perceived world becomes nothing more than a metamorphosed inventory of the senses.
However, if the viewer delves deeper into the forms and colors, it can be seen that the forms are related to each other. They are mutually dependent. Thus, they enter the flow of space and time. Time here defines the sequence of forms, which, despite being delimited, are given space and flow by their color design. The synchronization of open and closed forms creates a synchronicity, a tension that suggests a new world of knowledge.

Frankly speaking, four artists are coming to my mind instantly: Frank Stella, Friedrich Hundertwasser, Gerhard Richter and Lo Fong, a Chinese landscape painter of the 10th century.
Frank Stella and Hundertwasser have been with me since my puberty. I loved sitting in front of their books looking at their paintings, respective installations for hours. In 1978 I had the chance to see a Frank Stella exhibition at the Museum of Modern Art in L.A., which stunned me.
I admire Gerhard Richter for his landscapes and his discipline as an artist.
While I studied Chinese in Taipei for several years, I took classes in calligraphy and landscape painting. I got interested in the history of Chinese landscape painting and it was dazzling to see the creation of three-dimensional ink landscapes from the 10thcentury by Lo Fong. In Europe we had got stuck with the Carolingian art of religious topics and floral ornaments.

Caravaggio, Albrecht Dürer, Kandinsky, Andy Warhol and Gerhard Richter.

To me these five artists represent uniqueness, partly ingenuity and a good sense for business, meeting the right people at the right time or being married to the right person as in Dürer’s case.