For the T.R.A.S.H.#Klausur project, I sift through all of my boxes in which I have kept relics, clothes, costumes and objects used for my performances. In other boxes there are gifts, collected items and souvenirs. I sort all this carefully, label and photograph it. A part of it I put back in the boxes, a part I process further. I try to crystallize the message and story contained in the objects and make them visible through transformating them. For example, I dismantle bags made of truck tarpaulin, which come from a relationship from me and a Swiss guy, into their component parts, cut them into strips and weave them into a picture.
I mix the hair of my ex-boyfriends with plaster, which is left over from a school project. For  the use of further hair collections, I melt the wax that comes from the Performance Aquanitas 1 and 2 and mix it with it. Luminous safety vests and blue-colored cloths from performances by my former artist group White Market and the performance "showing breeding", I cut up and weave them with the remains of the installation of the yellow trash tree into screamingly colorful pictures. The resulting works are photographed and archieved. The process of dismantling is the focus of this work, even it feels sometimes like a like sacrilege  f.i. to cut up works by deceased artists (Max Rauh, 1888-1961) that are in my possession. Nevertheless, I see my work as that of a magician or shaman and transform the relics into magical objects, charged with stories of their past and previous owners. Some works will be passed on to artists who have donated materials that they have worked with before. These works should in turn be further processed by them.
In the best case scenario, a great ritual will take place in which all artists and people, or their spirits, if they have already died, from whom the materials come, will participate. The objects and pictures will be used as the ritual objects, as the scenery and will be the "disguises" for the performer.