For this exhibition, I pulled together three works.
Row, 2026
Exhibition view of Row, 2026, Steel pipe and rocks with two channel video / photo taken by: Victoria Gentsch, material matters.
Row, Row, Row your boat gently down the stream, merrily, merrily,
merrily, life is but a dream is being sung and heard around the room
from the displays that are showing videos of myself in my bath robe, in
my kitchen pretending to paddle on a canoe with my broom in hand
making paddle motions while singing out to the camera- this popular
childrens song. The video on both displays are the same footage, played
at different sequences, thus creating a canon. The scenes are inserted
in the pipe creating references to pipe dreams, when in reality I have to
tend to my responsibilities, living far from the option of going on a boat
ride.
2. Build you up/ tear you down, 2026
Exhibition view of Build you up/ tear you down. 2 steel pipes, lights, moss, cables. 2026 / Photo taken by: Victoria Gentsch, material matters.Exhibition view of Build you up/ tear you down. 2 steel pipes, lights, moss, cables. 2026 / Photo taken by: Victoria Gentsch, material matters.Detail of Build you up/ tear you down. 2 steel pipes, lights, moss, cables. 2026 / Photo taken by: Victoria Gentsch, material matters.
3. Taucherbrille ,2026
Exhibition view of Taucherbrille, 2026. Wooden panel, glazed ceramic, and video on display./ Photo taken by Victoria Gentsch, material matters.
Inside a snorkeling mask, the viewer looks into my
fish tank that I filmed: blurred fish drift across the frame
while, behind them, a sudden clear image shows me cleaning
the glass. My work focuses on acts of cleaning—layered
scenes that ultimately return to a single, persistent
I have shown new works Payment unsuccessful and Handles. M26 in the Kunsthalle Oktogon, University for Visual Arts Dresden, Post Graduate Degree exhibition.
Payment unsuccessful, 2026 is an installation made up of wood, ceramic, brick, mirror
it is about 90cm x 215cm and 100 cm x 250 cm big.
This installation consists of two freestanding walls facing each other in the middle of the room. One side is covered entirely in mirrors, with a sink and exposed pipes that stop abruptly. The other wall has handmade tiles with text that only becomes readable through the mirror.
When you step in front of the mirror, you become part of the work. You’re not just looking at it—you’re inside it.
The work comes from an earlier idea I’ve been thinking about: that responsibility is the ability to respond. For me, that often shows up in very ordinary moments—like standing in front of a mirror in the morning
A lot of my own anxiety is tied to financial insecurity—the fear of not being able to afford things, or keep up
But I don’t think this is just personal. These kinds of worries sit in the background for many people. So when viewers see themselves in the mirror, they’re also confronted with their own version of that.
The text ‘payment unsuccessful’ is written backwards—it only becomes legible through reflection. So the message only appears when you face yourself. In that sense, the work asks: what are we actually able to respond to, and what feels out of our control?
This work is about what happens when you’re forced to face yourself—and the quiet anxieties you carry with you, especially around survival and responsibility.
When I met my husband, it was in the age of the small Nokia, just right before smart phones became a thing everyone had. The phone got lost and broken, but resurfaced after a decade. These are the messages I wanted to keep around and not have get lost again. When we first met, exchanging these texts, can now potentially become the nexts artifacts of the next millennia.
inkjet on Kappa plate, dust sweeper, building blocks, Lego 50 x 80 x 30 cm x2
This is the sister piece to overextending myself.
I wanted to make life-size
elements of myself on which where I am frozen in time, while I clean something in the room.
I wonder from which perspective the individual perspective from which the individual parts of me
are working (and distributed).
Overextending myself 2025
inkjet on Kappa plate, dust sweeper, tea towels 120 x 280cm
On entering the gallery space we talked about the disturbance caused by this very large heating element. I wanted to install it in a work immediately. This is where I got frozen in time
overextended myself to fulfill the needs and solve the problem
this white cube nightmare Solving it by being responsible and dusting it off.
This Carpet beater, used to beat the rugs to rid them of dust and dirt shares the same qualities as a celtic symbol of eternity: The Trinity knot. The work goes on and on. The beating out of impurities. In this silicone sculpture, it has been transformed into a dildo that is ejeculating. This was my response to woman’s rights being taken away. This is my own symbol of the patriarchy in America today.
Works are inspired by the time it takes until something good can turn rotten. Having ideas to work with lemons, buying lemons, only to finally get to the project and find them already spoiled. Using the making lemonade out of lemons anology, it was important for me to keep that moment. A slight change in perspective. Thats what #motherhood is all about. Using time wisely, getting things done for yourself. Knowing there are mistakes, reality of mold. Mistakes judged by the perfectionism of society standards. This is my work honoring that.
