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major works, made at Krabbesholm Hojskole, Skive, Denmark

media: paper-maché, acrylics
a model of a found stone, enlarged by the factor 5. decorated, to make a statement.
It is intersting to see, how constant observation of an object - & making a copy, or a model of it - can raise it out of the objective insignificance and give it a genuine subjective value.

Especially the prominent Kheper will reoccur frequently in this series, to echo the significance of the fundamental qualities of an artwork, coming into being, and by coming into being, establishing the coming into being!
(sic, xepera xeper xeperu)


media: paper-maché, acryics, plexiglas, carton & the original stone of #1
As Kheper discribes a constant transformation of coming into being, the artwork, as well as the subject, towards which the artwork refers to - namely the original stone of #1 - is placed on a cardboard Kleinbottle. The stone(the general artwork), simplified as Kheper, is moving in the loop of the Kleinbottle, to visualize the subjective moment, that Adorno attributes to the fundamental work of Art.

media: metal, wood, found metal & wire, acrylics
Here, the course of the artwork is clarified again, with a focus on the origin, which the object, moving on the surface of the Kleinbottle, will meet somewhen again. The point where it comes into being is thereby the same, as when it vanishes to exist (in both, material and thought)

media: cardboard, wood, found circuitboard & wires, acrylics
As it is usual for the fourth, it presents an element that does not seem to fit the previous trinity; however, after conscious ispection, it becomes clear that only by the fourth, can the transformation of the preceding trinity be accounted for.

the forth, in this model, is the Artist.

Denouncing any conventional interpretation however, it has to be admitted, that the role of the artist is not as significant, as commonly believed. Adorno, again, commences his disillusion, by stating, that neither the artist, nor the audience, has an apparent impact on the course of the artwork. Certainly, it requires something like an artist, to initiate the origin of the artwork, but after this point, the two entities seperate, just like a newborn individuates always into a different direction than the parents expected, or wanted it to go.

I'll better stop this langague deconstructivism, not actually refering to the nearby picture; rather, I'd let someone else speak for me. Hence, I borrowed these words, to articulate them:

"Die allermeisten Intellektuellen, der größte Teil der
Künstlermenschen gehört demselben Typus an. Nur die stärksten von ihnen
durchstoßen die Atmosphäre der Bürgererde und gelangen ins Kosmische, die
anderen alle resignieren oder schließen Kompromisse, verachten das Bürgertum und
gehören ihm dennoch an und stärken und verherrlichen es, indem sie letzen Endes
es bejahen müssen, um noch leben zu können. Es reicht diesen zahllosen
Existenzen nicht zur Tragik, wohl aber zu einem recht ansehnlichen Missgeschick
und Unstern, in dessen Hölle ihre Talente gar gekocht und fruchtbar werden. Die
wenigen die sich losreißen, finden ins Unbedingte und gehen auf bewundernswerte
Wiese unter, sie sind die Tragischen, ihre Zahl ist klein. Den andern aber, den
Gebundengebliebenen, denen Talenten oft das Bürgertum große ehren zollt, ihnen
steht ein drittes Reich offen, eine imaginäre andere souveräne Welt: der

Herman Hesse, Der Steppenwolf

Oh, LORD, how greatful of thy, to let me face my demeaning oblivion and my oh so human dullness, precisely on the fifth - the fifth, one of my most potent ambitions- by mere omition.

media: cardboard, wood, acrylics, wax, textile, an old brush & body-measurement sheet

As the making of a piece #5 has been missed, it will be refered back to the quote of #4:

Particuallary the simplification into the obeying, civic artist & the tragic, penetrating one is interesting, and will be taken further hereby. Without question, I prefere to explore the role of the later, the cosmick artist, who is hereafter refered to as "ArtifexSteppenwolfus(successiveForm)"

This means also, that there are now two variables, walking seemingly hand in hand through the course of this series:

Art-ist and -object.

The title's "Vermessung" - meaning measuring - shows a positivist interest into the subject matter: indentifying the strengths and limitations of the "ArtifexSteppenwolfus"-model. It has many brilliant esoteric approaches, giving compensations in the case of failing in being a commonly accepted and succesful artist.

The twist with the "Vermessung" is given by the form, attached to the piece, which also gives this work its 5-dimensionality, for the document is available for public use below. As the archetypal succesiveForm of the ArtifexSteppenwolfus is definately the one with the higher degree of individuation, rejecting any cultural conventions, s/he will define his/her imaginary realm in very personal terms - and also personal norms of measure.

Therefore, a form has been created, allowing to record one's body measures, so that no conventional dimensions have to be taken, in the act of measurement.

The form on the work is filled out with the artist's body measurement.


media: wood, metal cable, acrylics, cardboard, graphite pen
The title states, what has been assumed for some time now: Art-ist & -object have a very similar way of evolving; however, keeping strictly to Adorno, this similarity cannot be caused by their interaction. Hence, it must be caused by a third agent - in Aristotle's terms, a Prime Mover.

The question for the prime mover is left open, because, firstly, it is hard to make any positivist claims about this matter; secondly, I see the answer rooted in a rather esoteric realm (sic, the answer being only valid, if it is a benefactor to the observer's believe-system)

However, as the idea of the Aristotle's Prime Mover implies movement - and the wood sculpture, spinning slowly around its axis - the four sides, presented in the course of the wood block, turning, are signed with Aristotle's four causes of movement:

Material Cause

again, as you gaze for long on matter, matter also gazes on you.

Formal Cause

not only the form, observed in the moment, but all possible forms that the object can possibly aquire. Tremendously efficient is the hypercube here, for the static repesentation yields only a superficial glimpse of its four-dimensional nature.

Efficient Cause

the means, by which every artwork comes into being, is the artist's libido. Hands of a craftsman, a clear mind, but foremost the ability to make a conscious and considered observation, is the highest merit of the ArtifexSteppenwolfus(successiveForm).

Final Cause / Telos

the apparent reason for the previous causes to come into being. It aims to justify the artwork, by the artist, giving the piece an intension. No vague, unconscious, industrialized processes, but every detail with a purpose - and that not in a reflection, but commencing from the first fire of inspiration.


a sub-series, juxtaposing the realm of Art with the idea of a "replacement world"

so far, so good, but what's the use of this whole thing?

"Maria schein mir die erste wirkliche Geliebte zu sein, die ich je gehabt hatte. Immer hatte ich von den Frauen, die ich geliebt hatte, Geist und Bildung verlangt, ohne je ganz zu merken, dass auch die geistvollste und verhältnismäßig gebildetste Frau niemals dem Logos in mir Antwort gab, sondern stets ihm entgegenstand; ich brachte meine Probleme und Gedanken zu den Frauen mit, und völlig unmöglich hatte es mir geschienen, ein Mädchen länger als eine Stunde zu lieben, das kaum ein Buch gelesen hatte, kaum wusste was Lesen ist, und einen Tschaikowsky von einem Beethoven nicht hätte unterscheidend können. Maria hatte keine Bildung, sie hatte diese Umwege und Ersatzwelten nicht nötig, ihre Probleme wuchsen alle unmittelbar aus den Sinnen."

Hermann Hesse, Der Steppenwolf

_...#1.v.2.101029.ArtifexSteppenwolfusmedia: etching in aluminum plate; print on graphic paper

Let's reconsider the foundation: The ArtifexSteppenwolfus (successiveForm), rendering & reflecting on it's work. A nearly eternal journey through heavens and dungeouns; though, via this process, hardly ever connecting to outsiders, thereby being of an esoteric nature.

media: etching in linoleum, print on graphic paper

This esoteric nature becomes apparent, considering that the ArtifexSteppenwolfus (successiveForm) restricts the conventional masses to interact with him/her and his/her work (sic, the personal Ersatzwelt). If at all, access is only granted to those sharing a common Ersatzwelt, or essential paradigms of it. Ergo, after all, an elitist audience.

media: etching on cardboard & aluminum plate; print on graphic paper

Now, as the Ersatzwelt's nature has been determined to be esoteric, attempting to measure it's range will only yield to another esoteric statement, incapable of proof.

It remains a good guess, however, to claim that an Ersatzwelt's boundaries expand constantly with a strong libido of the Artifex. And if the boundaries collaps, it is fair enough to state, the ArtifexSteppenwolfus assumed its unsuccessiveForm.

media: din A4 paper, graphite pen
The ArtifexSteppenwolfus (successiveForm) mystifies Art & makes it an analytical, philiological sophism, with esoteric telos and means.
As demonstrated, the act of mystification (via sophistication) is not the result of a substantivist need, but a strategy. A strategy of bluring one's vision with an esoteric argument, simplified and generalized to serve as a working all-unifying-theory.

media: borrowed metal case, wood, hinches, screws & acrylics

Maybe a materialist model of this ErsatzweltKust could give some pragmatic truth to this endeavour.

White walls and pedestals infest most Art Galleries for a long time already - terrifically minimal, conventional and modern.
If one simplifies the esoteric ErsatzweltKunst to be the direct inverse of its conventional, extroverted opposite - the kind of Art that is actually exhibited & visible to the masses - one only has to introvert the common structure of the Art-scene.

Hence, a totally inversed pedestal was created, not exhibiting Artwork on it, but withholding it inside.

Sharp, protective nails; a denial to the usual & civic, but also an escapehatch, in case of recreancy, allowing the ArtifexSteppenwolfus (successiveForm) to turn into its unsucessful form: the culturally accepted coventional artist.

media: printed transparent sheets, acrylics; exhibited on the right panel of #8//SS#5
In order to make the ErsatzweltKunst model more coherent & pragmatic, a similar situation has to be taken from a different area of knowing.
The esoteric sciences offer plenty of Ersatzwelt examples, most of them being the result of the researcher, mystifying a found pattern and making it the law (skipping the scientific method).
Maurice Cotterell is my personal favourite, not becasue I find his findings absurd, or wish to demean his method, but because his modus operandi is very creative, original, simple (and fun):
  1. The image(s)/graph(s) that is/are compared is/are printed on seperate transparents.

  2. These transparents are shifted over each other until a pattern is observed.

  3. The pattern is mystified, via generalization and simplification and is expanded to a (nearly)-all-unifying-theory.
This process has been reproduced, using graphically represented data of solar activity, sunspot number, global temperature & atmospherical CO2, over the last millennium. The piece's intended 5-dimensionality shall encourage the viewer to engage in the above explained process. Hopefully, a pattern can be found and a personal generalization can be made. Any conclusion being made from this process must be recognized to be valid, in the sense that every conclusion has a coherent usefullness to the one that made it. This usefullness is exactly that kind of esoteric truth, that an Ersatzwelt element can be defined as: the numbing of the conscious perception of empirical reality, creating an esoteric, mental world, in which the big questions of Life are deconstruted and neutralized.

Original Data by:

Robert A. Rohde, The Global Warming Art Project;
NASA & NOAA Paleoclimatology Program;
Massachusetts Institute of Technology; Robert Johnston;
Solanki, S.K., I.G. Usoskin, B. Kromer, M. Schüssler & J. Beer. 2004. An unusually active Sun during recent decades compared to the previous 11,000 years.
Nature, Vol. 431, No. 7012, pp.1084-1087, 28 October 2004.

media: printed transparent sheets, acrylics; exhibited on the right panel of #8//SS#5The title says it already: can one used the procedure, shown in #8//SS#6, to yield similarly usefull esoteric truths in the realm of the Art? If so, it would show an ErsatzweltKunst model, not exclusively consisting of Art-ist & -object alone, but open to basically anyone.

The setup of this piece is very similar to the previous, except the graphic data has to be replaced by Artworks. A couple of famous examples that might be interesting to be processed:

sub-series terminated. contintue with ...S-Krabbesholm#9...

media: borrowed metal frame; wood; acrylics; screws; hinches; linoleum waste; brush; hinges; various analogue b/w prints; prints of the pieces #8//SS#1, #8//SS#2, #8//SS#3; the artist's sandals
Piece #8//SS#5 opened

as #8//SS#5, the foundation of this final work, suggested, the inversion of the introverted modus operandi of the ArtifexSteppenwolfus (successiveForm) might be the simplest way to turn into the unsuccessiveForm - culturally recognized; involved and capital earning in the Art business.
So much for the theory. This conclusive attempt endeavours to test the pragmatic truthfulness of this idea. The perilous screws, that kept this bulwark of an ErsatzweltKunst-model together, surrendered; the content of this oh so brittle world is opened.
As a primary observation, almost all panels - afore being specifically structured, to yield a precise cosmological matrix of the personally experienced elements of my ErsatzweltKunst - lost their metaphysical connection and geometrical intension, in relation to each other. Now, the presented assembly of the opened piece only hints to its original and archetypal configuration.

Returning to the original intension, does this work now appeal to the unsuccessiveForm of the ArtifexSteppenwolfus complex? Does it align with contemporary conventions of both, the majority and the artistic elite? Is it accessible and non-repulsive in its appearence and content? This final conclusion can definately not be made on a basis of personal intuition and assessment; it requires input from a broader audience, which will likely lead to a pluralist, non-positivist answer. But so be it, amen
Only lastly, as a private appendix, founded on an afore revealed philiological prophecy, does the effect of "opening" the work affect it's integrity? For the work's original telos was laid-out to operate foremost in the introverted ErsatzweltKunst, does it not disperse precisely this element that makes it artistically and culturally valuable, when being inverted towards the public and profane?
Question over questions, and no concrete answers. The termination of the series 00015/S-Krabbesholm appears to mimic its commencement; Kleinbottle behavior. Maybe, one should settle with it, form a huge generalization of what has been said, with all-unifying-theory potential, and, finally, retreat into but another esoteric Ersatzwelt.
Ad infinitum.