You studied communication design before your MA in photography, how has the former influenced the latter?
I first studied visual communication and graphic design near the Swiss border in Konstanz so we were often drawn to exhibitions in Switzerland. Haus Konstruktiv in Zürich, for example, hosts great abstract and concrete art. I was fascinated by the work of Max Bill, Verena Loewensberg, Richard Paul Lohse and Anton Stankowski, along with a dozen or so others. During this time, I concentrated mainly on interacting with spaces. Key questions included: how do we deal with public space and how can we tell stories in it? Although my focus was not on photography, my photography professor Valentin Wormbs had a big influence on me. We often sat in his office, which was filled to the ceiling with hundreds of photo books. It was after that that I decided to go deeper into picture theory and photography. In terms of examining how we deal with pictures in our society, the MA programme at Bielefeld (where I studied) combines theory and practice really well. This exploration of culture theory, space theory, and theories about memory and images, plus my background in graphic design, is a major influence on my artistic approach.