art
FIGURES OF DESIRE, LINOCUT.
Figures of Desire explores how queer bodies are shaped through visibility, performance, and the desire to be seen. First presented in the group exhibition QUEER UNFRAMING – Art Beyond Straight Lines in Berlin in 2026, the series brings together three works: Self-Display I, Self-Display II, and Unperformed.
In Self-Display I and Self-Display II, two younger figures consciously construct themselves for the gaze, positioning their bodies with the practiced precision of someone who understands how visibility works. These are not neutral poses, but learned forms of self-staging — techniques of being admired, desired, and confirmed.
In Unperformed, that logic gives way to something else. A more mature figure stands without visible effort to persuade. His presence is calm, self-contained, and no less erotic for its refusal of display.
Read together, the three works trace a movement from performed desirability toward a quieter, more grounded form of presence — one that suggests visibility can exist beyond competition, youth, or the pressure to constantly prove oneself.
Each work is a hand-carved and hand-printed multicolor linocut, produced entirely without machines. Even the background layers are printed from linoleum blocks, emphasizing the physicality and labor embedded in every piece. The image format is A2, printed on 50 × 70 cm paper.
Strictly limited to 20 editions per work, each print is signed, numbered, and uniquely handmade.
BEFORE & AFTER. LINOCUTS.
Before & After reflects on appetite, access, and saturation within contemporary gay life. First presented in the exhibition PRIVATE PARTY in Zurich in 2025, the series consists of the paired works Ready Daddy and After-Feast Daddy.
In Ready Daddy, the figure appears in a state of complete anticipation: open, assured, and waiting for pleasure as if its arrival were already guaranteed. Desire becomes performance, confidence, and invitation all at once.
In After-Feast Daddy, the atmosphere shifts. The body carries the traces not of absence, but of excess — shaped by repetition, indulgence, and emotional fatigue. What remains is neither shame nor regret, but the quiet weight that can follow constant availability and overstimulation.
Together, the two works explore a culture where sexual freedom and immediacy can blur into consumption and exhaustion. The series does not moralize. Instead, it holds pleasure and fatigue within the same visual language, acknowledging intimacy as both desire and habit, liberation as both achievement and pressure.
Both works are hand-carved and hand-printed linocuts, produced entirely without machines. Printed in a single color, the reduced palette sharpens the physicality of line, shadow, and gesture. The image format is A2, printed on 50 × 70 cm paper.
Strictly limited to 50 editions per work, each print is signed, numbered, and uniquely handmade.
SPOTLIGHT STUDIES. LINOCUTS.
We all perform now. We pose, we polish, we angle ourselves into visibility.
One craves the audience. The other craves his reflection.
One moves for applause. The other poses for self-admiration.
Two ways of seducing yourself – both dangerously effective.
But both stand in the same light.
In this series, the male body becomes a stage for self-image and performance. These figures move between vanity and vulnerability, revealing how identity takes shape under the gaze of others – and under our own.
These works were carved and printed by hand in a limited A3 edition of no more than 50. Each piece is signed, numbered, and unique.
ERYSICHTHON (I & II). LINOCUT.
Erysichthon, in Greek myth, was cursed with eternal hunger.
I liked that idea – but I gave it a new appetite.
These two linocuts are about lust without shame, hunger without end. One body lies back, open and offering; the other lifts upward, asking for more. There’s no setting, no room, no face – just form, and what it wants.
I stripped everything down: the space, the detail, the hesitation. What remains is the moment just before the bite.
A hunger that refuses explanation or justification.
Each linocut was carved and printed by hand in a limited A5 edition of no more than 50. Each piece is signed, numbered, and unique.
GREEK STATUES SERIES (1.0 & 2.0).
SCREENPRINT.
This project collides two extremes: the legacy of Greek statuary and the frictionless ease of AI-generated imagery. The figures began as sterile, flawless bodies – too smooth to be human, too empty to mean anything. I intervened. I cut them apart, rewrote their light, forced them through Photoshop, and finally dragged them into the resistance of screenprint.
The choice of screenprint is deliberate: every neon hue, every raster dot turns digital fantasy into physical matter. The grain and imperfections are proof of touch – traces AI cannot leave behind.
The first series shows entire statues, stripped of temples and myths, glowing as artificial gods. The second focuses on fragments: torsos, muscles, flesh. They look less like ancient heroes and more like bodybuilder mutations – over-perfected, hypermodern, caught between antiquity and algorithm.
It’s about turning prompts into prints. About pulling artificial images back into flesh, texture, and ink. And the question I still can’t answer: what is an image worth, when AI can create one in seconds?
These prints exist only in strictly limited editions – each one hand-pulled, signed, and numbered.
