In the case of the ethnic reliefs, the work process usually began with a journey or some other form of analysis or research. However, the design process itself was intuitively determined by a quasi-irrational, playful impulse with which things were treated and combined. Sometimes this involved slipping into foreign roles or entering into imagined situations. This behavior requires an openness that in turn led to the use of the ethno-reliefs as models for the colored woodcuts.
The woodcuts were created using the “lost plate” technique, which does not allow for corrections or reversals. Every decision is final and irrevocably inscribed into the material. This is precisely where the correspondence lies with the experimental, almost irrational impulse that drives the works: allowing combinations, role changes, and imaginary scenes that are not determined by predetermined logic, but by the flow of the work itself. Thus, the colored woodcuts are not simply derivations of the ethno-reliefs, but independent transformations. They combine ethnographic traces and artistic invention, documentary fragments and poetic condensation. In the interplay of analysis, intuition, and technique, visual worlds emerge that do not organize cultural encounters, but rather render them visible as open, ambiguous processes—aesthetic models for appropriation, transformation, and the fragile
Es entstanden dabei 7 drei- bis vierfarbige Drucke in der „Verlorenen Platten“ Technik, in einer Auflagenhöhe von je 30 Exemplaren pro Motiv, Druckstockgröße von je ca. 90 x 45 cm.