day residues (2018–)
Medium: Mixed media textile — embroidery and appliqué on cotton and silk, pigments, thread
Dimensions variable (full dimensions available at the end of the page)
day residues is an ongoing series in fabric, thread and paint. The title borrows Freud’s term for the leftover moments of a day that resurface at night. Each piece holds one such scene — a room, a gesture, a half-remembered figure — sewn rather than written.
The works are numbered in the order they are made. After eight years the series has become less a body of images than a ledger kept by hand: 88 pieces, no selection, no chronology beyond the count.
Since 2026, this way of working extends into a new project series, why does white paper yellow →, supported by Kunststiftung NRW.
Tagebuch der bösen Taten (logging bad deeds)
2018 –
In parallel, the process-based work logging bad deeds operates as a form of self-archiving. In hand-bound books and video performances (since 2021), transgressions are recorded both in writing and visually. The use of the ritual Prayer Mittens (Bet-Handschuh) marks the intersection between private repentance and public performance; it transforms the abstract concept of guilt into a visible, almost sculptural act of self-reflection. The diaries are currently available in German; an English translation and the production of English editions are planned for the second half of 2026.
in easy words
day residues are artworks made of fabric.
I sew, embroider and paint on the fabric.
Embroidery means: making pictures with needle and thread.
I started this series in 2018.
It is still going on.
day residues means: leftover moments from the day.
The name comes from Sigmund Freud.
Freud was a famous doctor for the mind.
He said: small moments from the day come back at night in our dreams.
My artworks work the same way.
Each artwork holds one small moment from my everyday life.
A room. A gesture. A person I only half remember.
A little bit like a diary.
But this diary is made of fabric and thread.
I give every piece a number.
The numbers follow the order I made them in.
I do not choose the best ones.
I keep them all.
So the series is like a long list, written by hand.
Right now there are 89 pieces.
Since 2026 I work on a new project.
It is called: why does white paper yellow.
You can read about it here. [Link]
logging bad deeds
logging bad deeds is an artwork.
The German name is: Tagebuch der bösen Taten.
logging bad deeds means: writing down bad actions.
I started this work in 2018.
It is still going on.
I write down bad actions.
I write them in books.
I bind these books by hand.
The diaries are in German.
In 2026 I will translate the diaries into English.
Then you can read the diaries in English too.
Since 2021 I also make video performances.
A performance is an artwork
where a person does something
in front of other people or a camera.
In the performances I wear special mittens.
They are called: Bet-Handschuh. In English: Prayer Mittens.
The mittens hold my hands in a praying position.
The mittens connect two things: Saying sorry in private.
And showing it in public.
So guilt becomes something you can see.
And I can ask myself:
what did I do?
Was it really bad?
Distant Call (2021)
Installation in the Bloom Exhibition Space, Düsseldorf
Curated by Jisue Byun
Medium: Textiles, television, wall-mountable output device
Size: Variable
Under the extraordinary circumstances of the 2021 lockdown, a duo exhibition with the artist Jürgen Krause was organized in the BLOOM exhibition space in Düsseldorf. Programmatically titled DISTANT CALL, the show reflects the experience of distance in form and content, while simultaneously creating a space—despite pandemic-related restrictions—where art and culture can be experienced again.
In the shop window, the video performance Tagebuch der bösen Taten 19 I (logging bad deeds 19 I) is running on a screen: A speaker reads from chapters of the logging bad deeds. The sound, captured via a contact microphone on the windowpane, can be heard like a whisper on the sidewalk. After every secret confession, the video images show the artist—an act of additional penance—putting on her Bet-Handschuh (Prayer Mittens). This custom-made functional garment encloses the hands in a praying posture and can only be put on with the aid of the mouth.
Two models of the Prayer Mittens are positioned as artifacts in the exhibition space, thus functioning as a link between the performance and the series of day residues, which were visible on a linear wooden pedestal in the center of the room.
in easy words
DISTANT CALL is the name of an exhibition.
It was in Düsseldorf in 2021.
The exhibition space is called BLOOM.
Jisue Byun curated the exhibition.
Curating means: planning and organizing an exhibition.
It was a duo exhibition:
I showed my art together with the artist Jürgen Krause.
In 2021 there was the corona lockdown.
Museums and galleries were closed.
People had to keep distance.
The exhibition is about this distance.
But it also brought art to the people in this hard time.
You could see the art from the street.
In the shop window there was a screen.
On the screen a video was running.
The video is called: logging bad deeds I.
That means: writing down bad actions.
In the video, a person reads from the loggings.
The loggings tells about “bad” actions.
A small microphone was fixed to the window glass.
So you could hear the voice on the sidewalk.
It sounded like a whisper.
In the video you can also see me.
After every confession I put on my Prayer Mittens.
A confession means: telling about something bad that you did.
The mittens hold my hands in a praying position.
I can only put them on with the help of my mouth.
Putting them on is a way of saying sorry.
Two Prayer Mittens were also shown in the room.
In the middle of the room there was a long wooden pedestal.
A pedestal is a table or stand for artworks.
On the pedestal you could see my day residues.
The mittens connect the video and the day residues.
Image 1 ghosts on vacation, 2024 — Repro,
day residue, 30,5 × 29,5 cm
Image 2 N22, 2023 — Repro,
day residue, 25,5 × 21 cm
Image 3 N39, 2025 — Repro,
day residue, 22,5 × 21,5 cm
Image 4 environmental management, 2021 — Repro,
day residue, 24 × 22 cm
Image 5 N38, 2025 — Repro,
day residue, 23 × 18 cm
Image 6 N66, 2019 — Repro,
day residue, 23,5 × 23 cm
Image 7 N25, 2019 — Repro,
day residue, 11 × 11 cm
Image 8 N33 2022 — Repro,
day residue, 29,5 × 42,5 cm
Image 9 first syllables, 2025 — textile in artist’s frame,
day residue, 30 × 40 cm
Image 10 partykell, 2024 — textile in wooden frame,
day residue, 24 × 30 cm
Photo 1-8,10 by Felix Adam
Photo 9 by Johannes Bendzulla
Image 7-11 Installation view
day residues, logging bad deeds 19 I and Prayer Mittens
Gallery BLOOM Düsseldorf, 2021
Photos by Achim Kukulies
© VG Bild-Kunst, Bonn