Pieces for sale

Mixed media with wood, gold leaf, and acrylic lacquer.

Yum Kaax unfolds from a central core, spreading outward like wings that extend horizontally, vertically, and diagonally. The composition radiates growth from within, suggesting expansion that is both dynamic and ordered. Energy moves from the center toward the edges, above and below, as if the work were continuously generating itself.

The star-shaped elements placed along the vertical axis function as markers of emergence and renewal. They emphasize the role of the center as a living source rather than a static point. This structure reflects the essence of Yum Kaax, the Maya god of maize, vegetation, and regenerative life force, a deity associated not with domination, but with sustenance, balance, and cyclical growth.

Rather than depicting growth as excess or accumulation, Yum Kaax presents it as alignment: an expansion that remains rooted, a spreading that never abandons its source. The work becomes a visual invocation of life sustained through balance, continuity, and renewal.

Mixed media with teak, birch multiplex, beech, acrylic lacquer, and gold leaf.

This two-panel work exists as a unified whole in which paired forms echo both containment and boundless extension. Some elements are clearly framed, finite and grounded; others reach outward, suggesting movement beyond the visible edges. In this tension between the finite and the infinite, the piece becomes a meditation on duality and harmony.

The work’s structure reflects a principle embodied in the Aztec deity Ometéotl, the cosmic dual god whose male and female aspects Ometecuhtli and Omecihuatl, together represent the creative union of opposing forces. In Aztec thought, duality itself is not division but source; the paired energy from which life and form emerge. 

When this work was first completed in 2022, one panel was sold almost immediately. Left behind, its counterpart felt conceptually incomplete not a fragment, but a component of a larger unity. Rather than allow the work to exist in isolation, the artist chose to create an alternative piece for the buyer, preserving the integrity of the original unity. This decision acknowledges that true wholeness arises not from singularity, but from the dynamic interplay of complementary parts.​

In this work, unity is not a completed state but an ongoing relation, a duality that embraces difference yet generates coherence, much like the creative essence of Ometéotl.

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Mixed media with wood (ash, beech, oak, birch bark, beech multiplex)

The circular form radiates from central axis, unfolding in intersecting directions that evoke movement and balance. The title refers to the Aztec deity of the morning star, embodying light emerging from darkness.

Layers of ash, beech, and oak, with birch bark and subtle touches of gold, create a tension between material texture and celestial geometry. The interplay of direction and reflection captures a moment of transformation

Mixed media with wood and epoxy (ash, walnut, walnut, bark, oak, metal leaf, dried flowers and leaves)

This artwork’s title is a homage to the Aztec goddess of flowers, beauty, and art.

The piece is a geometric celebration of the regenerative spirit of nature. It features an arrangement of different woods which frame epoxy resin inlays. Within the resin, real pressed flowers and leaves are eternally preserved, embodying the goddess’s dominion over ephemeral beauty.

The piece explores the sacred dialogue between enduring structure and the vibrant cycle of life. The grounding wood contrast with the delicate, yet dominant, flora, inviting the viewer to contemplate the symmetrical and life-giving beauty that underpins both craftsmanship and the wild heart of the natural world and the metal leaf highlights suggesting a luminous pulse within nature’s quiet order as a reflection on life’s delicate abundance and its eternal return.

Mixed media with wood, epoxy, metal leaf and dried flowers.

"El Ojo" features a captivating eye-shaped center that geometrically draws the viewer in, while the piece expands outward, creating a dynamic sense of movement. Crafted from oak, ash, metal leaf, and acrylic, this artwork invites contemplation and exploration. Its intricate design and thoughtful materials reflect a harmony between nature and artistry, encouraging a deeper appreciation of the forms and textures that surround us.

Mixed media with wood, acrylic and metal leaf (walnut, oak, crystal beech)

With its layered, three-dimensional construction, Tlaltecuhtli evokes both structure and emergence. The title refers to the Aztec earth deity, embodying creation, transformation, and the cyclical nature of life.

The interplay of walnut, oak, and crystal beech gives the piece a grounded yet dynamic presence. Subtle variations in depth and grain catch the light differently, allowing the geometry to shift as the viewer moves. The work speaks of origin and renewal as a tactile meditation on the living essence of the earth itself.

Mixed media with wood, music casettes and acrylic laqueur.

Mixed media with wood, metal leaf and acrylic laqueur.

Mixed media with wood, metal leaf and black ink.

Mixed media with wood and japanese kimono silk.​

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During the project 'Stadtfenster by Fanie' the sustainable fashion label ZIKADE took the opportunity to spend two weeks in Fanie's atelier to turn their production fabric leftovers into something useful. The silk fabric comes from Vintage kimonos from Japan, which they process into new cuts. Fanie sought with Kathi and Barbara a way to integrate the fabric into the woodwork and this process resulted in two round pieces - Takeminakata und Omoikane- with a mix of wood and Silk, where the silk was strung onto individual pieces of wood. As the

unification of these different crafts and materials and the resulting new dimension of the art pieces made Fanie very happy, she subsequently created more works, one special in which all wood pieces are covered with silk fabric.

The pieces seem softer with the silk - almost fragile and the natural surface of the wood fragments is thus given a new look, which influences not only the visual perception, but also the haptics of the structure.

Mixed media with wood, metal leaf and acrylic laqueur.

Mixed media with wood (African walnut, european walnutbeech, crystal beech, oak, metal leaf, acrylic)

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The composition features upward-reaching lines that evoke the rays of a sunrise. The title references the Egyptian sun god, emphasizing the connection between light, energy, and movement.

Warm wood tones combined with touches of metal leaf create a interaction between grounded materiality and ascending light. The precise geometry and rhythmic arrangement generate a quiet tension, suggesting both strength and a sense of motion as a reflection on the energy of light.

Mixed media with wood, acrylic laqueur and tiffany glass.

Mixed media with wood, acrylic laqueur and tiffany glass.

Mixed media with wood, acrylic laqueur and tiffany glass.

Mixed media with wood, acrylic laqueur and tiffany glass.

Mixed media with wood (oak and european walnut) and acrylic laqueur.

Mixed media with wood. European walnut and maple.

Mixed media with wood (Ash, Maple, and Acrylic lacquer)

With its radiating, star-like symmetry, Kinich Ahau asserts a commanding presence, suggesting both celestial power and intense, dynamic light. The title refers to the supreme Maya sun deity, representing the midday sun, consciousness, and the fierce cosmic energy that sustains all life.

The composition contrasts the pale grain of Ash and Maple woods with cool-toned Acrylic lacquer to create an intricate geometric pattern. The thoughtful placement of materials allows the structure to appear simultaneously inward-folding and outward-bursting. The work suggests resonant themes of energy, life cycles, and divine balance, becoming an incisive examination of the profound and illuminating force of the sun.

Mixed media with wood (Crystal Beech, Maple, Spruce, and Acrylic lacquer)

Tonatiuh is defined by its bold central composition and sharp radial geometry, asserting a vital, compelling presence. The title refers to the Aztec Sun God, symbolizing the fifth cosmic era, the intense energy required to maintain time, and the necessary balance of the four elements.

A rich texture is established by the varied wood grains of Crystal Beech, Maple, and Spruce, which are punctuated by geometric blocks of colored Acrylic lacquer. This skillful material interplay creates a sense that is both rooted in ancient craft and strikingly contemporary. The work considers themes of elemental balance and temporal cycles, providing a close consideration of the essential, burning force at the center of existence.

Mixed media with wood (Beech multiplex)

With its tightly woven, hexagonal structure and intricate geometric repetition, Pahtecatl suggests both natural order and a transformative, euphoric state. The title refers to the Aztec god of medicine, pulque, and peyote, embodying healing and the creative alteration of consciousness.

The light-toned Beech multiplex is deeply carved with a dense, etched grain that creates a fascinating, interlocking pattern, causing the overall composition to visually vibrate. The work engages with ideas of inner interconnectedness and altered states, providing a visual contemplation on the woven structure of reality and transformation, drawing visual inspiration from the botanical form of the peyote cactus.

Mixed media with wood and acrylic laqueur.

The inspiration for the Huipil Maya line comes from the traditional costume/attire of the indigenous Mayan people in Mexico, Belize and Guatemala, where Fanie spent part of her life.

What is fascinating about these garments is that the history of the world is told through patterns and figures starting at the bottom hem and working its way upwards. Each story, and thus each "huipil", is different from region to region and although unique, the universe is the central theme on most of the pieces with its countless galaxies. 

To show her appreciation for the often very elaborate weavings and embroideries, Fanie tries to express an analogy of the typical diamond shape and strong colors in her artwork.

The inspiration for the Huipil Maya line comes from the traditional costume/attire of the indigenous Mayan people in Mexico, Belize and Guatemala, where Fanie spent part of her life.

What is fascinating about these garments is that the history of the world is told through patterns and figures starting at the bottom hem and working its way upwards. Each story, and thus each "huipil", is different from region to region and although unique, the universe is the central theme on most of the pieces with its countless galaxies. 

To show her appreciation for the often very elaborate weavings and embroideries, Fanie tries to express an analogy of the typical diamond shape and strong colors in her artwork.

Mixed media with wood and acrylic laqueur.

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Budget line Autumn 2024

Mixed media with wood and acrylic laqueur.

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Budget line Autumn 2024

Mixed media with wood and acrylic laqueur.

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Budget line Autumn 2024