Claudia, born and raised in former East Germany, discovered her love for art in the early stages of her childhood. Always interested in expressing herself, whether it was through being part of a theatre group, in a local orchestra, or just sitting quietly in her room and painting. However, she decided later to take another professional path and let the creativity slip aside, but however, never let it completely go. Self-taught in many different media and constantly in search of her own voice, she produced some marvelous landscape paintings in oil and watercolor, expanding later also to digital media.

Nowadays, Claudia's practice explores post-human and pre-human ecologies through painting and material experimentation. Across these works, she is interested in how life persists, mutates, and reorganises itself outside of human control, attention, and narrative.

The series *Intermundio* focuses on quiet post-human landscapes in which nature slowly reclaims spaces once shaped by human presence. Rather than depicting catastrophe, these works consider states of suspension and transition — environments existing “in between worlds,” where architecture softens, surfaces erode, and overlooked forms of life such as nettles, moss, and snails gradually inhabit abandoned structures. These works are less about endings than about thresholds, suggesting a world in a prolonged state of becoming.

Alongside this, the series *Organic Shapes of Nature* develops through automatic drawing and painting processes that generate speculative, creature-like forms. These works are not designed in advance but emerge through intuitive gesture and repetition, suggesting organisms that exist prior to categorisation or fixed identity. They occupy a space between abstraction and life-form, reflecting an interest in emergence, instinct, and non-human logic.

Material practice is central across both bodies of work. Working primarily on stretched fabric and canvas primed with paper, Claudia allows surfaces to remain vulnerable to tension, thinning, tearing, and reuse. Offcuts and remnants are often reintroduced into new works, extending the life of the material and allowing it to accumulate traces of time. This process reflects the ecological logic underpinning the practice: cycles of erosion, adaptation, and quiet persistence.

Together, *Intermundio* and *Organic Shapes of Nature* form a connected system of inquiry into what exists before, after, and beyond human presence — where worlds dissolve, and new forms of life quietly begin to appear.​