The starting point of this series is an exploration of origin and home—understood not as something static, but as something that moves, is interrupted, and continually re-forms.

As part of extensive research, I have traced my family history, created genealogies, examined historical photographs, and connected with memory initiatives. The works in this series refer to places to which I am connected through familial origins. The place names used point to real geographical locations in regions that were profoundly shaped by war, displacement, and flight during the 20th century. The reconstruction of historical settlements as well as routes of displacement and migration often proves to be fragmentary—a slow process that frequently yields no definitive results.

This past is not presented narratively, but translated into material. Cracked, fractured structures are sealed; breaks and traces remain visible while being simultaneously covered. In this way, surfaces emerge in which memory persists while also opening space for new elements to arise.

One such element is the reintroduction of Kurrent script, which was the standard cursive writing system in the German-speaking world for a long time before being banned during the Second World War. Combined with fragments of existing poetry that speak of origin, departure, and hope, it becomes part of a visual framework in which past and present overlap.