The main focus in my work is the fragmented human body. I use it to expose and investigate what is beneath its surface. Literally speaking, the subcutaneous parts are out in the open, but in a deeper sense its cultural and social taboos, like death and sexuality, are being uncovered. Formally these subjects are often revealed by the viewer's participation, which is instructed and involves manipulation of specific parts of the work.

The Anatomic Relationships represent an ongoing series of diptychs, triptychs and polyptychs. For the central part of each multi-paneled mixed-media painting I take a photograph of a specific isolated, dissected human body part from a medical book and depict it in painstaking detail and in an oversized fashion on canvas with acrylic paint. Each painting consists of at least two separate panels as it takes at least two to form a relationship. The words in the paintings create a dialogue between the individual panels as well as between the panels and the viewer.

The large polyptychs and triptychs are reminiscent of Altar paintings from the Middle Ages in that their hinged doors encourage the viewer to be opened. Religion was the central theme of the altarpieces whose panels were opened on special Christian holidays as part of the liturgical services in the church. Here the central themes are death, sexuality and the rediscovery of our senses reflecting a contemporary world that is overburdened with technology where a 'Coming to our Senses' is needed. Whereas The Ten Commandments of the Foot muses on the sexuality of the human foot (podophilia) and Tribulations of Barbie or The Way to a Man's Heart... describes the case of a man's fetish with Barbie doll heads (pediophilia), the viewer's participation in 1001 Smells, Touchy Subjects, A Matter Of Taste, Peep Show, Play It By Ear and More Than Meets The Eye is enhanced by putting him in touch with his senses beyond merely visual. Whereas the first project involves the viewer in an olfactory experience, the second one invites him to touch the 'treasures' behind the rubber-covered holes. The next piece challenges the viewer's taste buds, the fourth one confronts the viewer with his voyeuristic side, the fifth one invites the participant to be 'all ears' and the last one encourages the viewer to abandon himself to his intuition.