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At the beginning of the first lockdown, 2020 I had “still quickly” ordered a roll of linoleum online:

Article No. 23, Berlin red. The roll 2 meters wide, 5 meters minimum order quantity was delivered to the “curb”, unfortunately as so often these days, the shipping company had not called. The truck was just suddenly there, spitting out the heavy roll of precious linoleum.

Somehow I made it to the sidewalk and began rolling up, measuring, dividing, cutting and hauling away in the middle of downtown under the incredulous eyes of neighbors and passersby.

That was my survival treasure, driving on sight and carving for time. First the statue of St. Corona, according to legend a helper against the plagues, then many printing blocks Berlin and Munich after 45. Everything destroyed, only a few landmarks as silhouettes: the Memorial Church, the Residence, the Brandenburg Gate, the Museum Island.

I carved St. Corona in two variants: with surroundings and as a solitaire. I hand-printed them in many color variations and gave them away to Neukölln’s focal point initiatives in exchange for donations.

My spatial works are anchored in the architectural context in terms of content and form. I install linoleum prints on many different image carriers and always spatially. This is also the case with “CORONA AUF BLAUEM GRUND,” a variable wall installation of prints on transcendent-seeming color spaces in A.

I had always made linoleum prints, but never exclusively, it was like a pull. A friend of mine of many years only said that between the wars and after 45 many women artists had discovered linoleum as a medium for themselves. It came out of demolition houses, among rubble and ashes.