Iconic Identities
Paintings, Sculptures & Digital Body Icons
Iconic Mammas began in 2020 at the German-Polish border, where I started developing the series during the lockdown period. The quietness of the rural landscape, the slowed social atmosphere and the distance from urban structures became an important influence on the early foundation of the works.
Today, the project continues to evolve in Berlin, where I mainly live and work. What initially began as a series of more than 70 original paintings has gradually transformed into a multidisciplinary body of work in which sculpture, steel, Chromaluxe surfaces, painting and NFTs merge into interconnected material forms.
The sculptural works are produced in Leipzig, Saxony, together with my team Iconic Sculptures in a welding workshop where industrial material, craftsmanship and artistic transformation come together.
At the same time, parts of the process continue to emerge while travelling or spending time in rural landscapes near the Polish-German border, where silence, nature and distance from the city become spaces for reflection and new visual ideas.
The project is conceived for collectors who are interested not only in acquiring individual works, but in following the long-term evolution of an artistic language across different materials, surfaces and forms of presence.
At its core, the work explores care as a universal archetype beyond gender — not as sentimentality, but as resilience, protection, memory and social responsibility. Motherhood appears here less as a biological role than as a symbolic structure of care, visibility and human continuity.
The broader Iconics universe has now expanded into three interconnected series:
— Iconic Mammas ( Originals - 2 D painting Objects / Sculptures/ Cutouts / Mobile Monuments)
— Iconic Queens ( Digital Sculptures / Tokenized Artworks )
— Iconic Hieroglyphs ( 2D painting Objects)
Each series functions as part of an ongoing process rather than a closed collection. New forms, materials and conceptual layers continue to evolve over time.
If you would like to see the newest unpublished developments, you are welcome to join the archive and collector registry for upcoming works. Access is intentionally limited to a small circle of people who are genuinely interested in following the deeper evolution of my artistic world and process.
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THE ORIGINAL WORKS
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70+ ORIGINAL PAINTINGS
The originals are presented almost like sacred collector cards — emotionally charged objects between pop culture, memory and archetype.
Each painting represents an Iconic Mamma:
archetypes of motherhood, love, care and protection.
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SCULPTURE & PROCESS
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The paintings move beyond the two-dimensional surface and enter a spatial dimension.
Welded steel constructions, Chromaluxe surfaces and handcrafted details create unique hybrid sculptures between physical object and digital ownership.
• steel constructions
• welded sculptures
• Chromaluxe prints
• collectible objects
• NFT-linked editions
• physical + digital ownership
Steel. Fire. Transformation.
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THE FIRST 1/1 NFT
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ICONIC QUEENS
1/1 NFT on Ethereum
Minted on Manifold
This 1/1 marks the beginning of the journey — where motherhood becomes icon, memory becomes metal, and art enters the next dimension.
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THE FIRST CATALOG
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A book in the making.
The first catalog is currently in development and will document the entire world of Iconic Mammas & Iconic Queens.
Featuring:
• original paintings
• sculptures
• NFT works
• studio process
• texts and curatorial perspectives
The NFT releases and original artworks are currently helping finance the very first catalog publication of Iconic Mammas.
All collectors and early supporters acquiring an original work or supporting the project before the end of Summer 2026 will become part of the Founding Collectors page and be credited by name in the first catalog edition.
The idea is to build not only a body of work, but also a documented community around the very beginning of the series.
How is value created?
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Motherhood appears in my work not only as a biological subject, but as the beginning of a fundamental human dilemma
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I originally come from drawing and painting, but my practice has always been driven by a curiosity for new possibilities, materials, and forms of expression. Over time, this openness led me toward interdisciplinary approaches that combine analogue and digital media, spatial thinking, and collaborative processes.
After studying art, my focus increasingly shifted toward the social dimensions of artistic practice: how communities are formed, how participation becomes possible, and how art can create spaces for connection, visibility, and transformation. My work emerges from an ongoing exploration of care, belonging, and the conditions that allow human potential to unfold.
I am deeply interested in why some people become visible while others remain unseen. How is value created? Who defines recognition?
And how much do identity, success or failure depend on time, place and social perspective?
I believe many people carry meaningful talents within them, yet never fully develop because they remain trapped within the wrong environments or structures. This tension between visibility and invisibility, closeness and isolation, stability and collapse forms a central foundation of my artistic practice.
For this reason, I intentionally move across different media. At some point, painting alone was no longer enough for me. Today my works evolve between painting, drawing, steel sculpture, digital spaces, Chromaluxe surfaces and NFTs — not out of purely technological fascination, but from a need to translate complex social and emotional conditions into different material forms.
What interests me is less the final answer than the openness of the question itself. Just as humanity’s understanding of the world has continuously shifted throughout history — from believing the earth was flat to recognizing far more complex realities — I see identity, spirituality and social systems as something fluid, perspectival and constantly transforming.
Motherhood appears in my work not only as a biological subject, but as the beginning of a fundamental human dilemma: care, dependency, protection, power and social expectation all begin with birth itself. My works do not attempt to resolve these contradictions, but rather create spaces in which they can remain visible.
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When Visibility Becomes Existence
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For many years, I have been interested in the question of how reality is constructed — and to what extent it is shaped by perception, images, social structures and collective imagination. From an early age, I was less interested in fixed answers than in the unstable space between reality, projection and interpretation.
My works investigate precisely these transitional states. I am interested in how visibility is socially produced and how images begin to shape social reality. For me, visual presence already contains its own form of reality: the moment an image is perceived, generates emotion or becomes part of a collective space of imagination, it begins to exist socially.
Through AI, I discovered another medium for artistically exploring these questions. Not merely as a technical tool, but as a way of rethinking reality, materiality and imagination itself. I became aware that an idea can already begin to have impact the moment it becomes visually visible — even if it is never fully realized as a physical object.
This development has also changed my understanding of sculpture and material. Traditionally, physical works require large amounts of resources, production and material presence. Digital image spaces and AI shift these conditions without completely dissolving them. Because digital systems themselves also depend on energy, infrastructure and technological resources. I am interested in precisely this transition between physical and digital existence — between object, image and imagination.
I therefore understand my works less as fixed answers and more as open investigations into the social, emotional and technological conditions of the present. The works move between steel sculpture, painting, digital spaces and fragmented imagery — always searching for new forms of visibility, meaning and human projection.
What I attempt through art is not to explain reality with certainty, but to make visible how humans continuously construct reality themselves — through images, belief, memory, technology and collective perception.
Vision exists before matter. What begins as an inner image already carries its own reality long before it becomes physical form. Sculpture appears as a presence of a new era — situated between humanity, memory, technology, and future imagination.