A completely different way of looking at things becomes apparent with body prints (or prints of parts of the body) in contemporary art. When the permanence, the static aspect of pictures and sculptures, was questioned in art between the mid 50s and end 60s, it happened to lead to the creation of the anthropometries of Yves Klein. Taking this as a starting point, I arrived at the following theory: If an artist paints a portrait, a figure or a portrayal of a person, the model stands on one side and the work created - the result - on the other side. The model and the portrayal are separated and belong together only through the artistic communication. These relationships change in my body imprints. The model and the artist participate equally and the person always takes centre stage in the work. The naked skin also represents our everyday clothes, as it were. The art of colour printing - dark and light contours manifest themselves in new, subtly erotic body pictures. They are an aesthetic expression of body forms and body movements and indirectly address the wishful notions of both artist and model.

With body prints, I can place special emphasis on the experimental character of my work. I can give the print contours, create a collage or make other creative changes. The body prints can be edited further through different processes. I can paint over, mask, cut up or remove particular parts. The individuality and personality of the model play an important role in further processing of the original body print.