Education
1989-1994 - Independent Studies: Philosophy, Theater Science and German Language and Literature at the University of Cologne (Germany)
1994-1997 - Study of Preparation of Cadavers for Scientific and Medical Studies at the University of Bochum and in Pathologies, Morgues and Museums in the area and in Munich and Berlin (Virchowsche Sammlung)
1997-2002 - Art Studies at the Muthesius Hochschule in Kiel (Germany), and in Zuerich (Swiss) at the Hochschule fuer Kunst und Gestaltung
1999- lived 3 months with art students in Morocco
2002- guest student at the class of Gerhardt Merz at the Art Academie in Duesseldorf (Germany)
Selected Exhibitions
1999 - Group Exhibition at the Friedrich-Ebert-Stiftung in Kiel
- Group-Exhibition at the Kieler Landtag "Geruestbau"
- Group Exhibition at the Foyer at the Muthesius Hochschule in Kiel
2000 - Commissioned to create public art works in Luetjenburg/Germany
- Group Exhibition "Konsumenta" in Kiel
- Solo Exhibition "Voelllerei" at the Gallery Helle Zelle in Kiel
- Group Exhibition "Malklasse" in Salzau/ Germany
2001 - Group Exhibition "Ein Lichtbildprojekt" in Art Agents in Hamburg
- Independent painting project in the streets of Cologne
2002 - Solo Exhibition "Bauherren sind Blinde Maulwuerfe" Im Stollwerk in Cologne
2003 - Brockmann Presentation "Momordica charantia" in the Stadtgallerie Kiel
- Group Exhibition "Altar und Tafel" in Berlin
- Group Exhibition at the Gallery Reich in Cologne
- Group Exhibition "Display 1 " at the Gedock Art Gallery in Hamburg
2004 - open studios in kiel
2006 - Internet show "Eiskalt"
- Group Exhibition "Kabinett 4 " in der Alten Post in Frankfurt
2007 - Group Exhibition "Vertical Rising" at Monkdogz Urban Art Gallery in Chelsea, NYC
- Group Exhibition "Confluence of Cultures" at Walter Wickiser Gallery in Chelsea, NYC
- centerfold in the online art magazine "Perfect 8"
- Represented by the new york art gallery Black & White at Art Miami
2008 -
- March 13 - April 12 solo show "Mating Season" at Black & White art gallery in Chelsea/NY
- July 17 - August 15 group show "Season Highlights" at Black & White art gallery in Chelsea/NY
- October 18 - November 17 group show "Heart & Soul" at Alphabeta in Brooklyn
2009 - March 15 "Morsel Remains" Long Island City, NY
- November 6 - December 14 group show "Quixotic Beast" at Under Minerva Gallery in Brooklyn
2010 - January 7 group show at "287 Spring Street"
- January 9 group show "Essential" in the context of Music and Art Show in Tribeca
2012 - December solo show "grand attack" at Freddy's showroom in Brooklyn NY
2013 - Recently presented her football paintings at the Players Club at Met Life Stadium during a New York Jet/Oakland Raider game.
2017-2020 - founded and directed artspace88 in Keyport NJ
2020 to now shown at several art galleries in New Jersey
Statement
For some reasons it feels to me just natural to merge the images of horses and cathedrals. On some level both are about static - horses stand while sleeping - amazingly! On a personal level: I grew up with both. Coming from Germany medieval architecture was around me and filled me with wonder since early childhood. And I started riding horses at the age of 4. I thought for the longest time that I'd never integrate these overused subjects in my art - Until I noticed that I wanted to go right there exactly because they are so loaded.
When animals are depicted in art it's mostly us dreaming about what we are not. Symbolic meanings and exaggerations of grace and beauty coming in place. It's not nature depicted but our longings.
Gothic architecture in itself is more than static. These buildings are about elevation towards the sky, leading the gaze up the column into sophisticated ornaments and away from reality. They are representing strength and power - a skillful seduction.
Merging the image of the horse with the depiction of gothic architecture is kind of an overkill, dialing it up until it cracks.
I'm not much for moderation in my art.
At the same time I choose humble material: sharpies on fabric, just fine black lines. The result is a soft surface and an exposed process which makes these works relatable - no alchemistic techniques applied.
Combining the image of the horse with oriental carpet patterns leads into the same direction. These are not portraits of horses, but they are pretty objects showing what we already agreed on as being beautiful. I like to keep them very light, like drafts open to be finished by the viewer's eyes.
