My works are intended to get under the skin, and I mean not just intellectually, but physically too. I would like to awaken emotions with the actions on and with my body and the use of my voice, but also the staging of images and atmospheres. Especially in the live performances I try to make my bodily presence in the room so powerful that nobody can evade it, and that a transfer to the public takes place. An important role is played here by my voice: depending on how I say, sing or recite something, how I express myself in terms of sound, I waken different feelings in the person looking on. The what and the how of what is said form two levels that sometimes harmonise, often compete, but always interact. Here voice and mood are communicators that should afford the spectators the possibility of identification and inner emotional reaction. When I am acting in front of a camera or for one, different parameters come into play from those in a live situation: the action is addressed to the camera, the cropped image is suggestive, close and intimate. In addition, here I work differently with the time factor and with sound. I restage these performances, preserved in video as it were, in the context of my installations in a kind of presentation to the public. The machines (video or slide projectors, etc.) and other scene-setting elements such as objects, light and sound interact with one another and likewise engender a particular atmosphere. A complex of themes sometimes goes through several processes of media transposition. The intention is to generate an added value in the sense of a contentual and sensory displacement by means of this translation and further continuation.Performance and performativity are practices that involve remembering. In my work I have been concerned for ages with the body as a store of cultural memory, with my interest over the years shifting ever more to its function as a vehicle for constructions of identity. In my works I display the construction of actions by continuing and reflecting them “in duplicate” as it were in a different medium.A theoretical and research interest has grown out of my artistic activity and it has again fed back into my works. Therefore the relationship between the performance and its “document” plays an important role in my working method. I regard the performance itself as a form of document, by which I mean a strategy for remembering cultural practices. The repetition makes a displacement of cultural codes possible, and this can also show up what has been forgotten (contingency). This results in the document itself also being performative and tempting me to a media and contentual continuation.