And how did you get into the career you have now?
After finishing school I did an internship at the creative agency Parasol Island, in Düsseldorf. Initially I was only planning to stay there for six months before going on to university, but the experience of jumping straight into the professional world was so inspiring and successful that I didn’t end up going, and instead stayed working there for four years.
Following that, I wanted to get out of Germany and experience somewhere new, so I went to work for design studio ilovedust in Brighton in the UK. There I got to work for a lot of big clients such as Nike, Red Bull and Disney, which really helped me to find my own way and style of working. After a while I moved to Berlin but continued working remotely for ilovedust. I was also able to work on a beautiful series of printed city guides called LOSTiN, as art director and illustrator.
Now I feel like expanding in all directions to see what incredible visual landscapes I can inhabit. I am very curious to explore all sorts of media and industries. Maybe next year I’ll be doing furniture, or installations – who knows? I am very excited about what the future holds.
For someone who doesn’t know your work, how would you describe what you do?
Well, I couldn’t really say that I know. It’s like the old dictum from German Romanticism: defining or naming a thing will kind of kill its soul, its essence. I guess I prefer to just accept the journey and to let the unknown flow freely. I like to experiment, and I like to let the materials I’m using take control. I study all sorts of aesthetics and if I’m lucky, things happen – if not, then I wait. But I do see myself as a designer.
And what inspires and informs your practice?
Music remains by far my biggest inspiration, because I don’t really plan much – most of my work is very intuitive, and music alters the very moment in which I’m creating something. A track can completely change my workflow, or lead me in a different direction from my initial idea, so I never know how a drawing will end up – that’s what I love most, and what saves me from getting bored. Sometimes I’ll play music to form a counterpart to the mood I’m in. You know those days when you wake up feeling smooth and slow and jazzy? I’ll put on a very fast and aggressive tune and it forms this weird temporary equilibrium where all the emotional range is present at once. I enjoy everything from Balearic sounds to psychedelic rock, and cosmic disco to spaghetti western soundtracks.
I’m also really into French new wave cinema. I love the aesthetics of ‘70s and ‘80s movies, especially in terms of colour grading, set design and fashion. Jean-Luc Godard’s Le Mépris or Éric Rohmer’s Le Genou de Claire, for example, set the right vibes. And recently I’ve been really inspired by director Alain Resnais’ visionary works, including the masterpiece Last Year at Marienbad. And architecture too, because it manifests design ideas, shapes and colours into reality – I gained a lot from studying Antti Lovag’s 1989 ‘Palais Bulles’ (Palace of Bubbles) in Cannes for my poster series for online magazine Say Hi To_. A couple of months ago I visited Ricardo Bofill’s ‘La Fábrica’ [an old converted cement factory built over a number of different architectural periods] in Barcelona – in a strange way it just felt like coming home.
Music remains by far my biggest inspiration, because I don’t really plan much – most of my work is very intuitive, and music alters the very moment in which I’m creating something. A track can completely change my workflow, or lead me in a different direction from my initial idea, so I never know how a drawing will end up – that’s what I love most, and what saves me from getting bored. Sometimes I’ll play music to form a counterpart to the mood I’m in.