Manifest

Diversity as a Goal

The work of a transformation studio artist is marked by a deliberate choice for diversity. Each artwork is an opportunity to explore new paths. Striving for personal growth is essential: learning and experimenting lie at the heart of the process. The artist embraces the challenge of creating, evolving, and continually reinventing themselves.

Organic Transformation

Artworks are never truly finished unless they are no longer in the possession of the artist. Each piece in the oeuvre can be reworked, connected to other works, or transformed into something entirely new. These interactions generate unexpected meanings and ideas. Chance, experience, and the natural course of events guide the process organically. Traces of transformation—whether temporary or enduring—can grow into new artworks, serving as tangible witnesses to evolution.

The Tools of Transformation

Transformation is impossible without tools. Everything that drives change is an instrument: the artist, the audience, other organisms, natural forces, chemical reactions, technology. The entire universe is a reservoir of possibilities. The artist is both creator and mediator, in constant dialogue with these tools and processes.

A Manifesto of Movement

Transformation studio artistry is an ongoing journey, not a destination. It is an ode to change, a celebration of the undefined, and an invitation to keep transforming.

The core of the manifesto lies in the question: what form do I give to an idea? This shifts the focus away from style, technique, or medium, and towards the necessity of the work itself. An idea does not always have to appear in the same way. It can become a painting, a sculpture, an installation, a digital construction, documentation, a process, or a trace. Material and technique are not fixed identities, but means that can be chosen, tested, or abandoned again and again.

In this sense, the manifesto touches on conceptual art, in which the idea came to occupy a central position. Yet this does not mean that form becomes unimportant. On the contrary: form remains necessary, but it is not predetermined. It has to be found each time anew. The work does not emerge from loyalty to a recognizable style, but from the tension between idea, means, chance, and execution.

Its affinity with process art is also clear. The manifesto does not regard the artwork as a definitive endpoint, but as something that can continue to change. A work can be reworked, absorbed into another work, disappear, return, or acquire new meaning through time, context, and material. Transformation is not an additional theme here, but a way of working. The work exists not only in its completed state, but also in the transitions, residues, failures, decisions, and traces that precede it or emerge from it.

Chance, natural forces, chemical reactions, technology, living organisms, and the public can become part of the working process. The artist is therefore not only the maker who controls everything, but also someone who organizes conditions, allows processes to unfold, and afterwards looks again at what has taken place. The work thus emerges in a relationship between control and the loss of control.

The diversity within this practice can be read as a response to the idea that an artist should be recognizable through one style or one medium. The manifesto refuses that limitation. The oeuvre is not understood as a collection of separate finished products, but as a network of transformations. Each work can be a temporary node within a broader process.

At the same time, every art historical interpretation is also a form of simplification. By connecting the work to existing terms and movements, it becomes more legible, but also less resistant. This text therefore does not aim to offer a definitive explanation. It only attempts to make a number of affinities visible, without fixing the manifesto within an art historical scheme.

The practice that speaks through this manifesto is situated somewhere between idea and matter, between making and letting happen, between object and process. It does not search for a fixed style, but for forms that are temporarily necessary. What matters is not only the artwork as a result, but also the movement through which it comes into being, changes, disappears, or begins again.