In contemporary German theater, the focus often forgoes a faithful representation of the original text in favor of a deeper investigation of fundamental themes. The human condition remains at the core of these productions, even in its absence on stage. As an artist, whose background is intertwined in theatre, I follow this approach in my photography. My interest is to discover and explore facets beyond the obvious storyline given through the content of the motifs. Oscillating between conceptual and documentary approaches, my work often raises questions about the role of human existence in society. Abstract imagery is repeatedly interlinked with addressing social or political issues. Though ultimately offering a possibility of hope, a sense of (not) belonging and loss is a theme throughout my work and echoes my upbringing as a member of the second post-war generation in Germany. The Japanese concept of Ma also plays an important role in my formal language. Ma can be roughly translated as the negative space in a composition, although it is not “negative” per se; it is described as an emptiness full of possibilities or a pause. The aesthetics of emptiness and philosophical importance of reduction helps guide the attention of viewers. In the series How to disappear completely, the notion of disappearance implies the end of a visual existence. Inevitably, the question of before and after the point of vanishing is raised. Who disappeared? Where are they now? An intention is suggested, yet stays as ambiguous as its cause. As much as it can evoke feelings of fear and emptiness, at the same time, disappearance implies the existence of hope – for return and for an improvement of the condition.