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“Time Flown By” – After a depressive painting blockade, I had the vision of this dismantled old watch case with the winged symbolic figure, which swings the clock hands like a compass in one hand and the clock key in the other. The coding of time and space? The bold diagonal movement with which it rises from the primordial sea evokes the speed with which time flies.

“The Abduction of Europa” is the irritating founding myth of a continent: Europa, the daughter of Phoenix and Perimede, rides on Zeus, who appears in the form of a bull, towards the island of Crete. But perhaps the ride was actually more of a rodeo? Emphatically pointing to this is the impetuous, wild development of the history of the Euro countries, which, despite the Union and the Euro, still does not seem to be over.

“Fantabulous” – Design: pen drawing, text script inspired by the allegory: “The Clock” by Theodor Etzel. One gains time or loses it. The “dreamlike” illuminations are as various fairy tales and fables

“The Rendezvous” – Design: separated aquatint etching divided into an image segment comic. Sheet 1 from the series of etchings: “Divine Comedy,” “Inferno,” Canto 5, Sheet 1/3 "The Bridge"

Theodor Etzel (1873–1930) Fabulist of the 19th and 20th century “The Clock” “What a lazy creature,” ticked the clock, “is the human after all! There he lies and sleeps, while I, through the nights as well, tirelessly and restlessly ...” it fell silent there, the human had forgotten to wind it.

“Nostalgia II” – Design: Separated double graphics with Leaf 1 and 2 from the series “The Bridge” and with 2nd color sheet. Dante: “But tell me, at the time of those sweet sighs, By what and in what manner Love conceded, That you should know your dubious desires?” The bridge connects the lovers. But the lovers fall into the unfavorable circumstances (1968, East–West problems) Leaf 3

“Terra” – The four ancient elements—earth, fire, water and air—are the basic motivation of the image content and the imaginative, apparently divergent network of relationships between pictorial elements such as objects, quotes, set pieces and found pieces, from which a surreal, ironically alienated, mythical world of images is constructed. The sustaining theme is archeology.

“Terra” – The four ancient elements—earth, fire, water and air—are the basic motivation of the image content and the imaginative, apparently divergent network of relationships between pictorial elements such as objects, quotes, set pieces and found pieces, from which a surreal, ironically alienated, mythical world of images is constructed. The sustaining theme is archeology.

“Aqua” – The fairytale world of King Ludwig II of Bavaria with his castles, the “Venus Grotto” and his mysterious death in the lake can be transported in a wonderfully surreal fashion into an underwater kingdom where Poseidon and the Nereids rule.

“Aer” – The panorama of a small town with airy cloud magic and bits and pieces flying around that says everything to the local: The poet Jean Paul, Dr. Erika Fuchs with Donald Duck and a disproportionate number of painters. And a traditional herbal liqueur factory, whose exhaust air occasionally impregnates the Old Town with a special odor.

“Pyros” – By virtue of the desired psychological urgency, the viewer’s gaze is particularly focused on the center, from eye to eye, so to speak. Prometheus, who brought fire to earth, inevitably stands there as well. All the references in the picture are related to fire.

“Portrait of Alexander Waldbach” – Back then, in the art and culture system of the GDR, when I dared to paint a series of portraits of types of original, possibly also problematic individuality and not radiant, socialistically optimized activists, I received unexpected approval, but also immediately the punishing pointing finger of the cultural functionaries: “Do you want to portray our pensioners like this?”

“The Pompeiian Red” – Adaptation of an ancient wall painting. A Nereid with a mythical faunal being as a symbol of cheerful life in the netherworld serves as the wall decoration for antique real estate. The wealth of combinations of natural shapes and visual fantasy could also be understood as the original form of modern fantasy pop art. Among others, the color red is the color of eroticism—and, as is well known, the Romans were not inhibited in that respect.

“Blue-eyed” – Design: leaded acrylic color on cardboard. Surreal play with the terms: “blue” “black eye,” (in German: “blaues Auge”) “blue-eyed”

“Stranded Aphrodite” – Design: pen, acrylic paint, cardboard. Mythological digression: play with the insignia of Aphrodite or Venus: the surf foam, the shell. Here the rough landing on the beach.

“The 9 Muses” – Left Panel – In 1987, the party leadership of the district capital of Gera hoped to achieve an image gain through a meeting between Mikhail Gorbachev (USSR) and Egon Krenz (GDR), which was arranged in the presentable setting of the city’s cultural center and broadcast on TV. A wall decoration was commissioned especially for this purpose. My secret wish lay, with regard to the cultural richness in the building’s name (Haus der Kultur) as well as the re-use of the space, doubtlessly in political détente, embodied in the idea of the ancient muses.

“The 9 Muses” – Left Panel – In 1987, the party leadership of the district capital of Gera hoped to achieve an image gain through a meeting between Mikhail Gorbachev (USSR) and Egon Krenz (GDR), which was arranged in the presentable setting of the city’s cultural center and broadcast on TV. A wall decoration was commissioned especially for this purpose. My secret wish lay, with regard to the cultural richness in the building’s name (Haus der Kultur) as well as the re-use of the space, doubtlessly in political détente, embodied in the idea of the ancient muses.

“The 9 Muses” – Left Panel – In 1987, the party leadership of the district capital of Gera hoped to achieve an image gain through a meeting between Mikhail Gorbachev (USSR) and Egon Krenz (GDR), which was arranged in the presentable setting of the city’s cultural center and broadcast on TV. A wall decoration was commissioned especially for this purpose. My secret wish lay, with regard to the cultural richness in the building’s name (Haus der Kultur) as well as the re-use of the space, doubtlessly in political détente, embodied in the idea of the ancient muses.

“Two Astronauts Observing the Earth” – Design: collage of picture and frame, acrylic color adaptation of Caspar David Friedrich’s painting “Two Men Contemplating the Moon.” The inversion (picture title) is by no means unrealistic.

Triptych “The 19th Century,” left – It is a survey of a contradicting century on three levels or in three parts: the left level is dedicated to scientific-technical-industrial development, the middle level to social revolution and restoration, and the right level to the cultural complex of orientation towards historical stylistic devices and self-discovery towards modernism. For the overall optical impression, I chose the universal gray to achieve a monochrome color using the grisaille technique, which corresponds to the image material in black and white and was mainly created with the help of old xylographic printing processes.

“Red Berries,” 1965, 38 x 45 cm, oil and varnish

“Rom Anno Domini XII” – Design: Sepia pen drawing, washed and partially colored. The juxtaposition and superimposition of historical relics and contemporary architecture is impressive. A simultaneous, fantastically intricate view is closer than the postcard veduta.

“Torso di Belvedere MCDXXXII” – Design: drawing in mixed media, pencil, red chalk, acrylic on cardboard. Ancient motifs of art and architecture under the sky of the Pantheon.

“Cassandra” – Exterior with architectural set pieces as a romantically staged commemoration of a heroic past. Overgrown by lush greenery, the ruin dominates the foreground of the picture, while through a window a female figure (Cassandra?), with a warning gesture, directs the view towards a different, inanimate world.

“The Tomb of Little Folichon” – Design: preliminary study for several panel paintings in acrylic on cardboard. Recreated Roman ruins are a relic of aristocratic educational needs. Margravine Wilhelmine von Bayreuth’s lap dog Folichon is said to be buried there.

“Dance of the Avatars” – Interior of a fixed scene stage à la F. G. Bibiena with figurines, which are now called avatars, in a historical outfit. A fantastic game in the Baroque style. The two avatars could be the margravial couple Wilhelmine as a Jacobean pilgrim and Friedrich von Bayreuth as an ancient hero in pompous armor. The water and the ship in the middle distance are reminiscent of the so-called naumachia. During this bizarre courtly amusement, sea battles were re-enacted and ships sunk in the garden.

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The Divine Comedy “Bride of the Wind” Version I “Bride of the Wind” – Design: color lithography transfer printing process Historical: Francesca da Rimini loves Paolo Malatesta; both are murdered by her husband – a scandal back then around 1286. Dante names the catastrophe in Canto 11 with "hell wind".

The Divine Comedy “Bride of the Wind” Version I “Bride of the Wind” – Design: color lithography transfer printing process Historical: Francesca da Rimini loves Paolo Malatesta; both are murdered by her husband – a scandal back then around 1286. Dante names the catastrophe in Canto 11 with "hell wind".

The Divine Comedy “Bride of the Wind” Version I “Bride of the Wind” – Design: color lithography transfer printing process Historical: Francesca da Rimini loves Paolo Malatesta; both are murdered by her husband – a scandal back then around 1286. Dante names the catastrophe in Canto 11 with "hell wind".

The Divine Comedy “Bride of the Wind” Version I “Bride of the Wind” – Design: color lithography transfer printing process Historical: Francesca da Rimini loves Paolo Malatesta; both are murdered by her husband – a scandal back then around 1286. Dante names the catastrophe in Canto 11 with "hell wind".

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“The Insectophant” – Design: (line) etching based on old copperplate illustrations. From the booklet: “Gallettiana” about Professor Georg August Galletti (1750–1828), teacher at the Gotha Gymnasium. Collected from his students. 'Father of the Catheter Flower' or 'the absent-minded professor.'

“Germ-free” – Design: aquatint etching based on old popular scientific illustrations. The origin is an excursion to a microbiological laboratory with these inflated plastic boxes for mice. My impression was somewhere between fascination and criticism.

“The Little Brehm” – Design: acrylic on canvas. The picture title equals the book title plus nearby objects. However: the garlic bulb stands in the superstitious context of the bat.

“The Telluric Cabinet” – Still life. Objects that suggest an astrological or astronomical interest. An old-fashioned school tellurium dominates the pictorial space; a mannequin representatively gazes into the cosmos. In the background is the figure of the earth mother Gaia (according to Hesiod), who holds her first son Uranus—the sky—in her hand.

“The Russian Fur” – Still life. A splendid Russian silver fox on a tailor’s dummy flanked by typical accessories such as the inevitable samovar, a Fabergé egg, a toy Polikarpov biplane and “КОНФЕКТ,” a popular Russian confectionery.

“Hedwig's Mink” – Design: acrylic on canvas. Paying a visit to the old lady. Memorabilia from times long gone.

“The City” left/right part 1965/66 – At that time still artistically oriented towards graphics, after the destructions of the city, I understandably took up the topic of urban development with youthful enthusiasm. On the left sheet, the romanticist-historicist architectural style marriage of the city villas; on the right sheet a modernist architectural fantasy in which the future conflict with the environment is already indicated by the tree.

“The City” left/right part 1965/66 – At that time still artistically oriented towards graphics, after the destructions of the city, I understandably took up the topic of urban development with youthful enthusiasm. On the left sheet, the romanticist-historicist architectural style marriage of the city villas; on the right sheet a modernist architectural fantasy in which the future conflict with the environment is already indicated by the tree.

“Soap Bubbles, Pantheon” – Design: acrylic on canvas. Fleeting reflections of real motifs on the geometrically perfect shape of the sphere, such as on its iridescent soap bubble, random sections of a small world in the blackness of the infinite cosmos. The hand symbolizes reason to protect our world (sphere). Or also meaningfully: It is in our hands...

“Soap Bubbles, Pantheon” – Design: acrylic on canvas. Fleeting reflections of real motifs on the geometrically perfect shape of the sphere, such as on its iridescent soap bubble, random sections of a small world in the blackness of the infinite cosmos. The hand symbolizes reason to protect our world (sphere). Or also meaningfully: It is in our hands...

“Soap Bubbles, Pantheon” – Design: acrylic on canvas. Fleeting reflections of real motifs on the geometrically perfect shape of the sphere, such as on its iridescent soap bubble, random sections of a small world in the blackness of the infinite cosmos. The hand symbolizes reason to protect our world (sphere). Or also meaningfully: It is in our hands...

“Soap Bubbles, Pantheon” – Design: acrylic on canvas. Fleeting reflections of real motifs on the geometrically perfect shape of the sphere, such as on its iridescent soap bubble, random sections of a small world in the blackness of the infinite cosmos. The hand symbolizes reason to protect our world (sphere). Or also meaningfully: It is in our hands...

"Exemplare der Neujahrsglückwünsche"- Meine Neujahrsglückswünsche sind von 1961 an bis 1997 in verschiedenen grafischen Techniken gestaltet und selbst gedruckt. Ab 1990 auch im modernen Koper-Druckverfahren. Heute sind es Grüße per PC. Die Tradition der kollegialen Neujahrsgrüße habe ich als Student 1961 mit der Möglichkeit des originalgrafischen Druckes in den Werkstätten der HGB, Leibzig und später am eigenen Druckpressen gern begonnen. Dieser Austausch der Grüße fand nicht unter Studienkollegen, sondern größtmöglichst auch international statt. Der Austausch schlief aber mit den Verteuerungen der Portogebühren und dem Vormarsch der modernen Info-Medien immer mehr ein. Den elektronischen Grüßen sind natürlich keine Grenzen gesetzt.

“Samples of New Year’s Wishes” – From 1961 to 1997, my New Year’s greetings were designed using various graphic techniques and self-printed. As of 1990 also in the modern Koper printing process. Today it’s greetings by PC. I was happy to start the tradition of collegial New Year's greetings as a student in 1961 with the possibility of original graphic printing in the workshops of the HGB Leipzig and later on my own printing presses. This exchange of greetings did not take place among fellow students, but as much as possible internationally.

“Samples of New Year’s Wishes” – From 1961 to 1997, my New Year’s greetings were designed using various graphic techniques and self-printed. As of 1990 also in the modern Koper printing process. Today it’s greetings by PC. I was happy to start the tradition of collegial New Year's greetings as a student in 1961 with the possibility of original graphic printing in the workshops of the HGB Leipzig and later on my own printing presses. This exchange of greetings did not take place among fellow students, but as much as possible internationally.

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“Si renade” – Design: feather, red chalk, acrylic paint, cardboard. A play on words with siren and serenade.

“Organ Box” – Design: Feather, acrylic, cardboard. A somewhat macabre collection of medical-biological set pieces packaged as illustrative material.

“Little Oil Study” – Design: acrylic, oil on canvas. Seemingly banal objects tell a story. Storage space or hobby room? The title of the picture plays with the motif: almost everything has to do with oil.

“Trio Instrumentale” – Still life. A chamber with discarded musical instruments. The variety of instruments as well as the other objects makes one think of a street music trio.

“tutti frutti bubble gum” – Attention, exterior! Objects that we can only encounter outside, i.e., on the street, etc., are seen. This was a novelty for me, since I didn’t know these gumball machines from my childhood in the former GDR.

“The Wrong Egg” – Still life. An imaginary space. The consummate perfection of an egg. Disused furniture forms the base of the arrangement. From a half-open drawer, a toy dinosaur—symbol of a long-vanished geological era—looks apparently hopefully at the egg. The revival of a bygone era? Conceptually possible solely in the paradox of still life, of arranged coincidence.

“Figurine 82” – Assemblage. Hand-crafted cabinet relic with cassette filling, inspired by classic peasant painting. A seemingly real figure, assembled in an illusionistic-surreal manner with collage elements in the style of 19th century historicism. Inspired by stage figurines.

“Mandala” – The “picture-in-picture” subject shifts the meanings: the original mural on the school gable made a didactic statement, the indiscriminate wild floral growth of the panel in front of it transforms a picture detail—the color circle above—between the treetops almost mystically into a mandala.

“Exhibits” – Design: acrylic on canvas. A collection of things that belong together unofficially, but somehow subversively. Exhibits as a still-living inventory documentation of forbidden ivory antiques.

“Three Candles” – Still life. The depicted objects are based on the symbolic insignia of the Freemasons, whereas the skull reminds us of a vanitas motif.

“The Hidden Insignia” – Still life. Found pieces from renovation work on old buildings. A forgotten closet full of mason's tools, suggesting the association with the hidden insignia of the Freemasons.

Triptychon „Das 19. Jahrhundert“ - Es ist die Besichtigung eines widersprüchlichen Jahrhunderts auf drei Ebenen: Linke Ebene ist der wissenschaftlich-technisch-industriellen Entwicklung gewidmet, die mitllere Ebene der gesellschaftlichen Revolution und Restauration und die rechte Ebene der kulturelle Komplex der Orientierung auf historische Stilmittel und Selbsfindung zur Moderne. Als optischen Gesamteindruck wählte ich das universelle Grau, monochrome Farbigkeit

Triptychon „Das 19. Jahrhundert“ - Es ist die Besichtigung eines widersprüchlichen Jahrhunderts auf drei Ebenen: Linke Ebene ist der wissenschaftlich-technisch-industriellen Entwicklung gewidmet, die mitllere Ebene der gesellschaftlichen Revolution und Restauration und die rechte Ebene der kulturelle Komplex der Orientierung auf historische Stilmittel und Selbsfindung zur Moderne. Als optischen Gesamteindruck wählte ich das universelle Grau, monochrome Farbigkeit

Triptychon „Das 19. Jahrhundert“ - Es ist die Besichtigung eines widersprüchlichen Jahrhunderts auf drei Ebenen: Linke Ebene ist der wissenschaftlich-technisch-industriellen Entwicklung gewidmet, die mitllere Ebene der gesellschaftlichen Revolution und Restauration und die rechte Ebene der kulturelle Komplex der Orientierung auf historische Stilmittel und Selbsfindung zur Moderne. Als optischen Gesamteindruck wählte ich das universelle Grau, monochrome Farbigkeit

“Putty’s Journey, Jonas and Benny / Marsyas and Apollo / Halloween” Putti had been distinct decorative accompanying subjects in art history from ancient times until the 19th century. Putty’s Journey is a picture series (not a triptych) of still lifes in which a doll takes on the role of the putto and implies allegorical content with other objects.

“Putty’s Journey, Jonas and Benny / Marsyas and Apollo / Halloween” Putti had been distinct decorative accompanying subjects in art history from ancient times until the 19th century. Putty’s Journey is a picture series (not a triptych) of still lifes in which a doll takes on the role of the putto and implies allegorical content with other objects.

“Putty’s Journey, Jonas and Benny / Marsyas and Apollo / Halloween” Putti had been distinct decorative accompanying subjects in art history from ancient times until the 19th century. Putty’s Journey is a picture series (not a triptych) of still lifes in which a doll takes on the role of the putto and implies allegorical content with other objects.

“The Muse and the Unicorn” – "The Muse and Pegasus" – Design: pencil drawings on handmade paper. Complex design drawings for bookplates. Typographical execution undetermined.

“The Muse and the Unicorn” – "The Muse and Pegasus" – Design: pencil drawings on handmade paper. Complex design drawings for bookplates. Typographical execution undetermined.

“Kite Flying” – Design: Tangier lithograph based on xylographed illustrations. Dramatic landscape with fortress architecture featuring the sculptures of a cavalry general flying a paper kite, not surprisingly resembling a fighter jet. Conclusion: from time to time the kites fly in the world.

“Blind Date” – Design: acrylic on canvas. Melancholic impression when driving past a lonely house with bricked up “blind” windows and a lonely jogger.

“Hinter Hof” – Design: acrylic on cardboard. Oxymoron: a backyard (Hinterhof) in the city of Hof. Secrets are hidden behind apparently peaceful and dreary façades.

“From the Quill of Jean Paul” – Still life. The direct reference point is the poet Jean Paul and various memorabilia from his life. Modest self-testimony as a remark on the edge of the picture: “If you knew how little I ask about J.P.F. Richter, an insignificant wretch, but I live therein, in the wretch.”

“Actaeon Surprises Artemis” – Design: pen and India ink on cardboard. Mythological digression: Actaeon ogles at the bathing pleasure of Diana and her female entourage – she is angry and turns him into a deer.

“Journey to Bolsena” – Design: colored ink drawing on handmade paper 2/4. Mystery plays in Bolsena at the Basilica of Santa Cristina with the AItare delle Quattro Collonne.

“Viennese Meerschaum” – Design: acrylic, oil on canvas. Smoking utensils, objects of a pleasure phenomenon with an old tradition, but recently with critical ambitions. When will only pictures remain in one’s memory?

“Aviary of the Borghese” – Design: drawing in mixed media with acrylic on cardboard. Letter to the daughter: “...in Rome we admired the art treasures of the Villa Borghese. Next door in the park we discovered a complex of buildings lavishly decorated with façade reliefs and a strange roof construction that somehow reminded us of a pointed hat made of wire mesh...”

“Rowan Tree” – Still life. An old clay jug with a lush bouquet of branches from the rowan tree. Flora, among other things, set in relation to (flying) fauna, which in turn is alienated by origami paper objects.

“Ex Oriente Lux” – An artist colleague who unfortunately died early presented us—my wife and me—with this object on the occasion of a celebration. What was he perhaps thinking? I have reinterpreted it politically in one picture: out of general contradictions, the disenchanted image of an Orient with a fuse and kerosene.

“Archaeologists” – Design: tempera on cardboard in grisaille or Camaieu painting. Fascination miniatures. Two figures discover a forgotten city, two others are looking at the panorama of a “destroyed?” city.

“Archaeologists” – Design: tempera on cardboard in grisaille or Camaieu painting. Fascination miniatures. Two figures discover a forgotten city, two others are looking at the panorama of a “destroyed?” city.

“Penthesilea” – Design: comic or graphic novel. Stage play by Heinrich Kleist, the original text has been largely retained, a total of 58 pages. Drawings/Manuscript 2002 to 2006. Published by Verlag Günther Emig, Kleist-Archiv Sembdner, Heilbronn (2008). Penthesilea, Queen of the Amazons, meets the Greek men’s army of Troy with her army of women. Bloody fights ensue. Nevertheless, Achilles, leader of the Greeks, and Penthesilea grow passionately closer. A total of four posters that are not necessarily intended for the children’s room....

“Little Tyrant” – Offset copperplate print. Design: full-size drawings (+ color plates) contact copied onto offset plates. An old technique, printed on a high-speed offset press with manual feed.

“Little Tyrant” – Offset copperplate print. Design: full-size drawings (+ color plates) contact copied onto offset plates. An old technique, printed on a high-speed offset press with manual feed.

“Little Tyrant” – Offset copperplate print. Design: full-size drawings (+ color plates) contact copied onto offset plates. An old technique, printed on a high-speed offset press with manual feed.

“Little Tyrant” – Offset copperplate print. Design: full-size drawings (+ color plates) contact copied onto offset plates. An old technique, printed on a high-speed offset press with manual feed.

“Titanic in the Suitcase” – Over one hundred years of the catastrophe myth about the Titanic. It became symbolic for doom and gloom and macabrely stimulating for surreal pictorial inventions.

“The Fly” – Design: acrylic on canvas. Not all things are always of great importance in art; even the trivial subjects have their aesthetic charms.

“Small Talk” – Design: acrylic on canvas. Real lost property: What do you think when you come across such a set of cemented seats in the landscape? Perhaps the regret of not being able to shove this set under some celebrities’ butts in a TV studio.

“ZEN” – Design: acrylic, oil on canvas. Actually: Zehn (German for the number ten), like in 10th birthday. Playful mediative congratulations in a Buddhist-Japanese style.

“Dolphin” – Design: acrylic on canvas A sailing trip somewhere on the sea – for inexperienced “co-sailors,” in addition to relaxing, the sight of a dolphin is always a welcome event.

"The New Neighbors" – Design: acrylic on canvas. A beautiful example of peaceful coexistence. The new neighbors’ pets.

“The Trap” – Design: acrylic on canvas The succinct title and economical means of expression for malicious deception are meaningful here.

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“Tango” – Design: drawing, acrylic, airbrush on cardboard. Two carved, wooden console doubles, on closer inspection, deceive us as the figures of a dancing couple.

“Santa Maria or the Discovery of the Other Shores” – Columbus’s caravel is the symbol of the discovery of the New World. With the fall of the inner-German border in 1989, the way was clear for the discovery of “new shores,” quasi new geographical, economic, cultural worlds.

“Nude” – Design: acrylic on canvas Nudes without a thematic background are either used for academic studies such as flesh tones, proportion, etc., or are simply an aesthetic motif, nude photography, as is the case here.

“Angel with the Two Left Wings” – On the occasion of a performance participation by and with the author and publisher Ingo Cesaro, a graphic text project with poetry by I. C: “The angel does not burn” against various esoteric waves. Allusion to the pun: “Two left hands.”

“Rose-colored Glasses” – Still life. Seeing something through rose-colored glasses means wanting to see everything beautifully. It’s quite paradoxical here, because all things are beautiful and interesting, right? A collection of glasses can't hurt though.

“Moonlight” – Landscape. Moonlight illuminates a landscape. Apparently, a traditional romantic motif of the 19th century. But it is an artificial lake, as if lifted into a useful landscape, filled with technical devices. The lonely boat conveys only limited mobility.

“Just a Thin Skin” – For more than a decade, my family and I lived in the countryside on a huge rectangle of fields, bordered by spruce monocultures. The water was supplied by a well and our anxious gaze was directed at the weather every day. When the field was ploughed, one saw what a thin, fertile layer of soil separates us from the desert.

collection-ketscher - 2022