124 F: There’s one more very important thought in this: As soon as I add a colour, and even if it’s only red lipstick, I automatically dictate a basic emotion to whoever’s looking at the picture. If I depict a gangbang scene in black or red, I instantly give it a touch of wickedness, of something forbidden. If it’s all in white, the image retains its virginal innocence. V: The topics you work with are quite varied, and you’ve also created set designs and commissioned work for magazines and big fashion companies like Hermès—where your art is quickly gaining publicity at the moment. But that’s not always been the case, right? What led to your breakthrough as an artist? F: There was a time when I’d pretty much hit rock-bottom. After ten years in the business, I had to close down my multimedia agency, and after a 20-year relationship and 15 years of marriage I got divorced and, as a result, broke off contact with a lot of socalled friends. So I was sitting around my 30-square-metre bachelor pad with letters from the debt collection agency piling up, drunk and basically awaiting eviction. At that low point in my life, one day I was sitting on the loo taking a dump, wallowing in self-pity and telling myself: “God, you’ve managed to royally fuck up your life, dammit!” And when I looked down on the ground I saw, on a sheet of kitchen paper towels lying around, the face of a woman. I instantly went to my desk and started cutting, and after 30 attempts I finally managed to get one done the way I’d imagined it. And from that point things continued looking up, up, up. I was soon commissioned to do jobs for a variety of magazines, was suddenly also selling a lot of my work directly to private customers, and my pictures for Peek & Cloppenburg were shown in Vienna, Berlin and Stuttgart. V: In November 2012, you had your first solo exhibition under the interesting title "Deep Throat". The audience was presented with a lot of bare skin, sensual titillation, full penetration, group sex, big tits, gay cowboys, and so on—mainly subjects taken from 70s porn films. What inspired you to deal with pornography as a topic? F: My parents, intellectual hippies and typical products of the 70s, had a very free, permissive lifestyle. Every year, we’d go to nude beaches, so as a child I was constantly surrounded by nudity and sexuality. My dad would also constantly take pictures of my naked mum and next to the morning paper, there’d "Every year, we’d go to nude beaches, so as a child I was constantly surrounded by nudity and sexuality. My dad would also constantly take pictures be porn mags on the kitchen table; all this was very normal to me. But when I hit puberty, I suddenly started to have a problem with it. All this didn’t fit in with the coolness propagated in the 80s when, even in the hottest summer months, people were walking around in black polo-neck jumpers. Back then, I wasn’t interested in porn either and found it extremely boring when my friends went to the video shop for porn. I couldn’t understand how anyone could be so obsessed with sex and nudity, but now I’ve started to look into the subject again. Porn is one of the oldest art forms, as people have always felt the need to depict female fertility in some way or show men with erect penises. The film Deep Throat from 1972 marks the breakthrough point when porn became mainstream, and that’s why the aesthetics of my work make reference to that time.