Alongside Christian Schäfer I developed a new Cómeme-logo (after the label decided to stop using the old one by Pablo Castoldi). At that time I was obsessed with patterns, in particular all-over-patterns. So I had the idea to treat the letters Cómeme as a pattern that would form an own sign. The Memphis Group was definitely an important reference in this process, I actually had Ettore Sottsass furniture in mind.
For each release I used a certain analog collage-language for the graphics of the label. Therefor I always used the same coloured paper as the bedrock and collected different patterns and motifs to work with.
While doing so I was constantly in conversation with the artist as well and by that open for directional input regarding the topics of my searching process by trying to understand what visual ideas they had in mind alongside their music. This research operation sometimes went fast, but sometimes it took quite some time till the fitting images came to me and by that the full conceptional idea.
Talking about influences I have to mention Aby Warburg whose “Mnemosyne” – Atlas had an huge impact on my work. In a way you could compare the way I work with an eclectic dj set, in which you put a diverse set of influences in a realtionship to each other to create by this a new perspective on things. That said, the compostition is like a frame for all these diverse things, not only to reflect the music but also to animate an new context. I loved to go further and spin a whole world around the artists.
I also created in the past costumes and stage settings (paintings) for some artists. And developed handcutted fonts and typography. Good example for this is the “Visitor” tour of Matias Aguayo and the Shirts I designed and handpainted coming from certain tracks of the label like “Power of Now”(Christian S), “Geffen” (Barnt) or the “Phantom”–shirt I created for Lena Willikens which she is wearing most of the times for her performances. She got a serie of handpainted unique ones, but we also made a limited edition version for sale.
Working with Cómeme was for some time really a symbiotic working process within the set up of a collective approach – but that sadly totally changed over the time. Looking back I have to realize that I exaggerated my self exploitation within that context by believing to work for an art collective. It was a bad awakening to see that the “ family” had became just one more hierarchic and commonly business like all the others out there. At that point I decided to focus on my own projects and exhibitions and leave the label.