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This work complex consisting of photographs, graphics, texts, objects, and video reveals the intensive research process with my own social imprint, but also deals with fundamental questions about family structures, education, gender roles, language, the concept of coming of age, and ultimately forms of coexistence.

(That's me)

In particular, I have taken the relationship with my father and his expectations of me as a starting point, challenging his understanding of photography, life goals, and society through artistic means. But not only the beliefs and expectations of my father, but also the perceived expectations of an art market, society, and ultimately my own, become part of this study.

I understand the work as a process of emancipation from family expectations, learned beliefs, and supposedly desirable life goals. Given that success in a heteronormative capitalist society is often associated with reproduction and prosperity, failure is often seen as the better choice from a feminist perspective. I perceive and stage my supposed failure as a woman, daughter, and photographer as a place of potential.

Building materials and playground elements as carriers for photos and text emphasise play, the provisional, the unfinished, the lingering in-between, but also the possibility of redesign. It was important to me to find a form that understands images and text as material. The images are provisionally attached with packing tape and clamps. I wanted to demonstrate a playful approach to the material and emphasise the focus on the process. Stuffed animals often play a very important role in a child's process of emancipation. They are often like allies for children, serving as transitional objects that bridge the gap between the world of children and the real world. The stuffed animals in my installation provide support with their empowering slogans in the emotionally challenging process of emancipation.

Stuffed animals often play a very important role in a child's process of emancipation from their parents. They function as allies and help children develop their emotional autonomy. The stuffed animals in my installation provide support with their empowering slogans in the emotionally challenging process of emancipation. With the help of simple, accessible tools such as cardboard and pens, an act of demonstration, resistance, and rebellion is carried out to overwrite the internalised voices from childhood.