Sometimes only a small beam of light is missing
for a great moment...


Here you will find a short overview of my work. For more information just click on the picture.

Abstract Acrylic Painting, 2020. cubes in warm tones come from a left vanishing point to in front of the viewer, turning right-angled and then fading away in the distance in a second vanishing point. On the floor, a yellow band marks the path of the cubes as a mirror image.

Vanishing Points

abstract scenic 3D art, raytracing, 2018. many cylindrical pillars stand in the darkness in front of the viewer and block the view to a nearby person who is approaching the viewer with a strong spotlight.

At night

abstract acrylic painting, stencil technique, design as charcoal drawing, 2017; a dominating sky of pale white rectangular clouds hovers over brown ground reduced to a triangle.

Sky and ground

Abstract acrylic painting, design in 3D construction software, finished in stencil technique, 2013. skyscrapers stand in a row on the bank of a river and are reflected in it. The water has waves that break the reflection. All picture elements are abstracted by rectangles. Only a circular moon in a dark blue sky breaks this rule.


Abstract acrylic painting, design in image processing software, execution in free brushstroke. A tree stands on a summer meadow, 2012. 20 x 20 colour pixels from a very limited colour palette generate this representation.


Abstract scenic 3D art, raytracing, 2020: Three colored (red, green, and blue) laser beams hit a structure of 2197 small white cubes and produce white scattered light.


Abstract scenic 3D art, raytracing, 2020: A golden cube hovers between two mirrors and casts a shadow on the floor. The image of the mirror multiplies infinitely. One of the mirrors is slightly tilted, so that the cube row bends to the left and disappears in the dark.

Between two mirrors

Abstract scenic 3D art, raytracing, 2020: Many cylindrical pillars stand in darkness in front of the viewer and block the view of a large illuminated spot behind them.

At night 2

Abstract acrylic painting, design in 3D construction program, execution in stencil technique, 2018. The view through a row of open doors is linking several rooms in different colors. In some rooms, sunlight enters from the side. The last opening hints at a green garden behind it.

Garden view

Abstract scenic 3D art, raytracing, 2016: A staircase allows escape through a wall in which the word Escape is engraved.


abstract acrylic painting, design in 3D construction program, execution in stencil technique, 2012. in front of a blue background there is a barcode-like arrangement of stripes in red, green and yellow. Scanning the barcode would give the title of the work.

No Art


Virtual abstract scenery, abstract digital art, raytracing, computer-rendered image, 2020. A golden something seems to come out of the darkness of a tunnel onto the viewer at high speed.


Abstract scenic 3D art, raytracing, 2019. 10 x 10 x 10 cubes floating in empty space with red, green and blue sides, shown from an extreme camera perspective standing in the middle of the arrangement

1000 cubes

Abstract acrylic painting, 2017 at first free design of three colour surfaces, later transfer of the picture into 3D construction and finally painted over in stencil technique, 2018. Viewer stands on red ground in the desert and sees the cool blue sky in the far distance. The way there is marked by a row of black posts in a curve.


Abstract scenic 3D art, raytracing. Thin vertical sheets of paper hang in a room with their edges facing the viewer, 2016. All sheets are colored red on the left side and blue on the right side. The sheets are arranged in 9 cubes from closely packed stacks, always leaving some air between the sheets. The perspective gives the impression of partly cube-shaped, partly curved forms.


Abstract acrylic painting, design in 3D construction software, execution in stencil technique, 2012. Three coloured stripes are located on the walls of a tunnel which ends in a light grey square. The stripes in red, green and blue are irregularly interrupted to indicate a code.


About me

How do I, as a physicist, come to produce art?

After a thorough talent test, I already knew as a teenager that I should become either a physicist or a designer. I decided to become a scientist and to continue to practice my creative-artistic side in my spare time. My love of craftsmanship with various materials helped me to design several lamps and pieces of furniture over the years. I prefer a very cool, understated, Bauhaus-like style. When designing, I was able to make full use of the more in-depth knowledge of materials I had gained during my physics studies.

In my job it is important to me to understand a product or a manufacturing process in its entirety. The mathematical modelling of real things, which is common in physics, helps me to do this. Over the last years I have successfully specialized in the development of sensors for motor vehicles. The optics used in such products are calculated with 3D light beam tracking programs (ray tracing). For the design of furniture and other objects in my hobby I have not used paper for years, but 3D design software.

Since my wife is also an art lover, we visited many exhibitions together. I discovered my passion for abstract art with a focus on very reduced representations of a three-dimensional detail, e.g. a corner of a room. With this discovery the loop to the artist was closed for me.

How do I work?

I start my designs with a three-dimensional inner image. This emerges, for example, when discovering a special shape, such as the corner of a house during a walk. But it can also be the impression of a nightly crime scene with fog. I try to imagine what minimal setting is needed to achieve an effect similar to that experienced. I like to reduce the details a bit more to challenge the viewer in his interpretation. I make the design in the 3D construction program. Then follows the setup of the lighting (like in a photo studio), and the coating of the object surfaces with a material. After calculating the image in the raytracing program, several correction loops (object, material, light) are made until an optimal image is created.

It is important to me to have full control over the result throughout the whole process. It is all the more surprising to me that some pictures are perceived completely differently by the viewer than I thought...

If control is so important, why do I paint at all?

The luminosity of the acrylic colours is superior to photo and digital prints. The colour space ( limitations of displayable colours) is also larger. There are also more modelling options. A photo is always flat, while a brush stroke has a three-dimensional texture, depending on the type. All these characteristics make painting highly attractive for me. But do I really want to leave a painting result to chance?

In 2012 I started to intensively deal with the basics of painting in my spare time. Of this, I spent two years studying the basics of colour pigment mixing and finally developed a computer software for it. Another two years passed with the self-study of pictorial effects. The first pictures were created as a manual exercise. After I could not get used to the uncontrolled application of paint by a brush, the next pictures were created in mask technique with opaque paint, partly again from computer sketches. I was satisfied with that. In painting courses I had the courage to cover the perfect colour surfaces with transparent (only partially controllable!) colours.

In the future I will risk further painting experiments with less control....

It would be nice to see you again. I would be even more pleased to receive criticism - be it positive or negative. You are welcome by email.