‘What I do always starts with drawing, a quite sermonic, repetitive activity. I pay attention to constellations and compositions that are recurrent until they become manifest or plausible over time. Whatever resembles something or becomes recognisable too soon I put aside. The pieces here [...] are listed as ‘Warped Reliefs’ as in many of the works the folded lines are deforming the rectangle they are placed within. The works are kind of tailored from thin lead sheets. It is a metal that almost resembles fabric, so whatever is folding up is subtracted from the pictures outer boundaries, shrinking and shaping the rectangle. Colour to me is the most archaeological subject. A colour needs to support the tonality in the relief, formally, but it needs to somehow match with something I memorise, be excavated from the mind. You once associated your sculptures with spaceships. In the collages I recognise situations which are non-gravitational, and even where domestic objects or suburban scenes appear, they seem to detach from their terrestrial whereabouts.’¹

¹Vincent Fecteau / Florian Pumhösl, Conversation, in: Vincent Fecteau / Florian Pumhösl, I hear the ancient music of works and works, yes, that’s it., Verlag der Buchhandlung Walther und Franz König, 2022, p. 66.