AP: It seems you have now discovered the color and paint right now and you paint with brush and canvas. Respectively also your ceramic sculptures, how come? MK: That's a good question, I've been working on it and i see it as really a necessary consequence of what I've previously made. One can not my work considered in isolation. You are always in a process context. I am interested in rather the craft of it. That is what bothered me in the photograph somehow. Paint has to do more with making something. Just the fact that it is always given as a unique painting that fascinates me. That means it is work that I have made previously and there will be work which will subsequently arise. But I think the photography for artistic work no longer has the meaning as I care in the 80s. It is one of the reasons why I've started again with the paint. MK: The phenomenon of space as a topic I have been working a very long while in theory it employs a number of models have emerged. It has created an in-line work that I produced as comments. In earlier work, I have frequently combined the media, such as photographic works with installations and murals. For me it was a necessity to establish the connection to the room. The content of thematic work is one thing and the relation to space, so the shape is another. The match is the balancing act that an artist must master. It is crucial to the overall effect eventually. One may say Im looking for a lab. I am interested in the research. I am a curious person. In addition, my interest, there remains the fact to work on installations. From the approach it are the topics that I cover in photography, and similar with the themes in painting and sculpture. It's a different medium. Other media so there are in painting, sculpture and other modes of expression. There is another way to visualize something. In the painting I like, for example, the strong personal relation. The craftsmen process interests me at the sculpture. I think I had before that not the self-confidence to this work really imagine. There are, I think works, and you can talk about the work that we can look at. A painter just produce art for looking at it. AP: That sounds interesting, you are career changers, so to speak, in terms of painting? You often speak of the laboratory experiment and what do you mean, and how do you see yourself in any tradition? MK: There is if, as I was born in Germany, Europe is certainly traditions with which to deal, in contrast to someone who I care for the American, Asia, African, Oceanienworld comes from. There are other traditions, perhaps. I think a lot of experimentation. I would say that is my tradition, a tradition of experimentation. A.P.: thanks for the interview.
