My poster represent the fear that children feels when they are abused from their own fathers. The poster is like the shoe of the father when he is coming home and at the same time is like the door of the home with the afraid eyes of the child.

Nestlé ist Branchenführer im riesigen Markt der Flaschenwasser-Hersteller. Entgegen ihrem Image als umweltbewusster und ressourcenschonender Trinkwasserversorger, kauft Nestlé Nutzungsrechte an Wasservorkommen für wenig Geld, schließt die lokale Bevölkerung vom direkten Bezug der Ressource aus ‒ nur um ihnen anschließend das selbe Wasser, verpackt in Plastikflaschen, wieder zu verkaufen.

Dies alles geschieht zudem ohne Rücksicht auf die Umwelt, Beispielsweise wenn das Unternehmen die Quellen zusätzlich anbohrt um mehr Wasser als auf dem natürlichen Wege zu gewinnen. Dabei trocknen ganzen Landstriche aus, Ernten bleiben aus, ganze Ökosysteme sterben und Quellen haben keine Zeit sich wieder zu regenerieren.

In dem Bewusstsein, dass wahrscheinlich bereits 2025 ca. 3 Milliarden Menschen unter Wassermangel leiden werden, treibt Nestlé die Privatisierung und auch Monopolisierung dieser wichtigen Ressource stetig voran. Leider wird über dieses Thema nur sehr wenig berichtet und gesprochen.

Für mein Plakat habe ich das Logo von Nestlé der Realität angepasst, und den Slogan von „Good Food, Good Life“ zu „Control Water, Control Life“ umgewandelt. Wer das Wasser kontrolliert, kontrolliert das Leben.

Stomach and brain are strictly connected, and every sensorial experience is assimilated and transformed into emotions by those two essential parts of our organism. For this reason, every time we feed our body we also feed our soul.

Trying to reach the other side of the Mediterranean Sea, hoping to find a better life, refugees often pay a high price; their own lives. They might reach another side, but a side, which does not have landing shores.

This poster brings visibility to what the world often tries to hide: homelessness, slums, and favelas. Thousands of such places exist worldwide—pushed to the margins of society.
I used bold colors and layered compositions to symbolize cramped, overcrowded living. The limited poster size reflects the lack of space; overlapping rectangles mark the tiny areas people are forced to live in. The scattered typography represents people in motion—searching for stability and believing in a sustainable future. This work is a call to look closer—because behind every makeshift home, there is a human being.

Posters are made to transport certain information. Nowadays the free or politically motivated posters are decreasing. What we are left with are rejoicing advertisements and cheap ampaign slogans. My poster deals with this subject matter. Ambiguously arranged typography prompts to leave the everyday comfort zone behind and begin to challenge the information and pictures we are fed.

1.  The Tibetan antelope is facing a massacre.
2. Shotguns are the embodiment of greed and ignorance.
3. No killing, no trading.

Residential and commercial space has become a rare and expensive thing in cities. To achieve sustainable urban development one must properly handle resources, and this includes existing buildings. This is not a rational or social issue per say, but more a question of creating a space for fresh impulses. With the right amount of commitment, dedication and active involvement, we can create attractive new forms of utilization.

We must raise awareness of vacancy within the population of our cities, and this poster is designed to just that. The main message is aimed to make the issue up close and personal, by addressing us directly. The poster mourns the state of affairs, pressing us to change something about it.

Many of the things we wear are made by kids. Child labour is still an issue and can not be forgotten about. This what I want to draw attention to with my poster. Clothing sold in Germany may also be made by children. The dress I used is meant to show that no matter how beautiful an item may be, it might come from a place that is just the opposite.

The political dialogue in Austria is on a very poor level these days.

Ein Zitat von Paul Ernst scheint mir ganz passend für mein Plakatmotiv zu sein. “Hass erzeugt Hass, aber nie will der Hass sich nach dieser Wahrheit richten. Wie man selbst seinen Mitmenschen begegnet, so begegnen diese einem selbst. Das ist die zentrale Aussage des Plakats.

A person is noticibly nervous and even frightened by what reveals itself on the table after the package is opened – the person is frightened so much that he or she almost does not dare to look at it.

My idea deals with the individual and his or her fear and unwillingness to accept personal responsibility for the (often brutal) truth in his or her own life. The opportunity to bear this responsibility reveals itself not only in difficult situations but also in seemingly trivial ones. I believe that avoiding your responsibility for the truth has severe individual and global consequences.

Bombs fall, people flee, cities crumble – war is pure catastrophe. For millions, it means pain, loss and fear. But not for everyone. There are those who profit from suffering: Shareholders whose investments in arms companies bring maximum profits. Heads of state who secure raw materials and power under the guise of peace. Banks that increase their profits with loans for arms deals. As long as there is money to be made from war, why should there be peace?

In 2015, women in the United States were paid roughly 79¢ for every dollar men were. While this image depicts one regional statistic, the broader objective is to call attention to the myriad injustices faced predominantly by women in the workforce. In addition to unequal pay, issues like sexual harassment, biased dress codes, and lack of paid and/or adequate family leave continue to plague workers throughout much of the world.

The increasing amount of plastic in our oceans changes the life of millions of sea creatures. They are literally drowning in plastic. Therefore, this idea raises the question how long it may take until this flood of plastic will be washed to our shores and drown humanity? Do not ignore the threats of plastic for our planet just because you do not see it.

Unerringly like a striker is chasing the ball, the big business that is the driving force behind world’s soccer is hit by one scandal after the other. But time and time again there is only the yellow penalty card for the ones responsible. The spectators as well as the players are to tacit complicity. It’s time for a dismissal!

Action und Panik haben sich im Nachrichtengeschäft schon immer am besten verkauft, ganz nach dem Motto “If it bleeds, it leads”. Was mich enorm stört, ist dabei jedoch die immer aktivere Rolle der Nachrichtensender, die sich längst nicht mehr auf die reine Berichterstattung beschränken. Statt nur zu beobachten, betätigen sie oftmals sozusagen selbst den Abzug – ohne Rücksicht auf Verluste.

If one visits an art exhibition in 2023, one gets the impression that the majority of visitors spend their time creating a reproduction of the work with their smartphone or camera.
According to a study, visitors spend an average of 27 seconds in front of a work of art. But seeing a work of art, understanding, reflecting on it, and appreciating all the sensory perceptions that only the immediate experience can provide takes time.

Take your Time.
It’s worth it.

The idea of the poster is to represent freedom of movement.

Mickey spies children without parental consent The Walt Disney company has been fined to pay 3 millions dollars after that the Federal Trade Commission discovered that the Walt Disney company collected illegally informations about children registered on a children Disney website. About 1 million of children are concerned. This informations were used and published by an another Walt Disney online games website. For the americans laws, a website needs the parental consent if it want to collect, use or publish them. The FTC was very strong on this subject, telling that this kind of infractions are very serious and severely punished.

The poster shows an another unknown face of Walt Disney. Mickey is black, dirty, frightening with this big dripping sentence written on it, taken from the fiction “1984″ written by Georges Orwell telling the story of a supervised, secured and undercontrol society. This poster speaks about an another aspect of the “wonderful world of Walt Disney”!

Let’s face it: between part-time, care work and housework, mothers actually work full-time. No one cares if they have the tools, the time or a team to support them. Even the day off is used to finally organize medical appointments, buy a birthday present for the kids’ party on Saturday, look for bigger shoes, put away the clean laundry pile and get a new sunscreen.

Actually, mommy is just an acronym for do. Unnoticed and unpaid, of course.

In many Islamic countries women rights are suppressed, there are too many rules and they have to dress in overall burkas that look like restraining cages, exposing only eyes that resemble a small prison window revealing a trace of light. This appeal is intended to loosen the restrictions on women.

Breasts don’t care if they belong to a woman or a man. In spite of this they are omnipresent in the sexualization of the female body. Even in the year 2017 it has not yet become common knowledge that all people have the right to self-determination and independence. And this applies to women and their breasts just as well. Equality means women have the right to make decisions over their own bodies. Feminism means women can choose – to show their breasts, or not.

Mother Earth does not belong to us, we belong to her, the damage we do, we do it to ourselves. Deforestation is one of the strongest damage and more difficult to solve. Do you want to continue deforesting? Are you sure?

This poster reflects our neglect with the planet present situation, the unnecessary excessive pollution that we generate and the direction we are taking.

The plot of the poster is the pollution, more specifically, the car exhaust. The unique ambiguity of the (german) title leaves no doubt who the « bad guy » is.

Bangkok is a city of animism where supernatural beings dwell in both natural and constructed objects. Tales of ghosts and superstitions are parts of our everyday life. There are two types of land spirits whose a majority of Thais believes in; Deity of the Land and Lord of the Place.

The blue ghosts seen in the poster represent the spirits in everyday sights throughout the city, the noble landlords who possess acres after acres of land. We, as Bangkok’s ordinary people, can do nothing apart from watching them and paying for taxes and rents to them for the rest of our lives.

Raging bulls foam for red rags, and red rags require expert guidance. The cattle longs to be driven.

An overcrowded and digitally leveled humanity is in dear need for a sense of significance. Who whines is fed hot air through a thick teat, which should be be enough to fill them up.

“Libertas, Securitas, Justitia” lautet das Motto der EU-Grenzschutzagentur Frontex.
Ihre Einsätze im Mittelmeerraum sind völkerrechtlich bedenklich und reduzieren dieses Motto auf einen einzigen Begriff:
Sicherheit um jeden Preis.