Welcome to The Veiled Atelier – a place where the unseen becomes visible.
Here, masks, puppets, figures, and objects come to life – inspired by myth, ritual, and the hidden symbolism of things.
Whether born from the shadow of a dream or the dust of forgotten stories, each creation carries a soul – shaped by craft, art, and intuition.
The Veiled Atelier is both studio and archive – a laboratory of form, where commissioned work finds space alongside free artistic exploration.
Whether for stage, ritual, film, or collection – this is where artworks are made that take the magical seriously.
Materials & Techniques
My artistic practice bridges traditional craftsmanship with contemporary experimentation. In my figure and puppet work, I combine classical sculpting materials—such as clay, papier-mâché, carved wood, and textile—with modern lightweight construction techniques using foams, resins, thermoplastics, and silicone.
Each puppet or theatrical object is developed with a deep sensitivity to its intended movement, expression, and tactile presence. I often incorporate internal mechanics, wearable structures (such as custom harnesses), or kinetic elements to bring these creations to life in a performative context.
Surface treatments play a vital role: layered painting, fabric manipulation, and aging processes contribute to the atmospheric depth of each piece.
Alongside analogue techniques, I also integrate digital fabrication into my workflow. I use laser cutting for precise structural elements, decorative patterns, or scaled templates, and 3D printing for prototyping, sculptural detailing, or mechanically complex components. These technologies allow me to push material boundaries while keeping each object grounded in physical presence and artistic intention.
In my stop-motion and animation work, I adapt similar techniques at a miniature scale—working with ball-and-socket armatures, modular joints, and carefully articulated skin and costume elements.
Through ongoing experimentation, I seek to develop forms that are not only visually compelling, but also intuitive to animate and operate—where materiality and functionality serve the poetic language of the figure.
Biographical Background
After spending a year abroad in Pool, England, where I completed an Access Course in Art and Design, I began my studies in stage and costume design at the HfBK Dresden in 2003.
During this time, my fascination with character creation and figure design deepened significantly.
While I found the conceptual part of the program enriching, I missed the hands-on, craft-based aspect of theatre work. To address this, I completed a guest semester in theatrical sculpture under Professor Eisner.
My desire for a more applied theatre education and my growing love for puppetry led me—through an Erasmus scholarship—to the Academy of Performing Arts (DAMU) in Prague. There, I studied stage and costume design for alternative theatre and puppet theatre under Professor Petr Matásek.
One of my central interests lies in connecting traditional theatre with modern media. This interest brought me to the Film University Babelsberg (HFF), where I specialized in stop-motion animation with puppets and set design.
In 2017, I was able to deepen this focus through participation in the intensive workshop “Animation and Theatre” at the Stuttgart Opera, led by Paul Barritt and held in the context of the Stuttgart Animation Film Festival.
The intersection between traditional stop-motion techniques and puppetry remains a key area I intend to explore further in my own productions.
My studies at HFF culminated in the diploma film “Toys in the Attic”, which was nominated for the First Steps Award in 2016. The film explores the relationship between memory and imagination through animated puppets. The production process formed the basis of my written thesis and also demonstrates my experience in set building, prop design, and theatrical lighting.
Since completing my studies, I have continuously expanded my skill set in materials and methods for animation and theatrical design.
