In this collection, I explore the fragile boundary between visibility and erasure, between what is seen and what is made to disappear. Entartete Kunst was born from the desire to reclaim a space once defined by condemnation, to transform what is branded as “degenerate” into a living discourse on freedom, perception, and power.
 

For me, art has always existed in tension with authority, whether moral, political, or technological. I was drawn to the idea that what is forbidden often holds the greatest potential for truth. By fragmenting and pixelating images rooted in a history of censorship, I sought to strip them of spectacle and return them to silence, to ambiguity. Each work becomes a negotiation between exposure and concealment, allowing the viewer to complete the image through imagination rather than instruction.
 

Abstraction, in this sense, is not escape; it is resistance. The mosaic form protects what is delicate, distorts what is dangerous, and questions what is known.
 

The decision to erase every trace of a work once it leaves my hands is not an act of disappearance but of release. It is about trust, a relinquishing of control that mirrors the project's wider inquiry into ownership, authorship, and memory. When a collector chooses to reveal, withhold, or destroy a piece, they enter the artwork's inner life; they become its custodian and, perhaps, its conscience.
 

This collection is not a static body of work but a process, a slow unfolding that mirrors the rhythm of thought and rediscovery. Across ten successive releases of one thousand works each, the collection gradually takes shape, favouring sustained engagement over immediate completion.
 

Entartete Kunst is, at its core, a meditation on the act of looking, and on the quiet courage it takes to see beyond what history, power, or technology allow us to see.