Sentinel (4)

2017
acrylic, enamel, marker, crayon, oil pastel on canvas
230 x 200 cm

perspective view, group exhibition “The Second Self“, Peres Projects, Berlin, 2017
__________________

The anamorphic paintings depict a group of bizarre, hyperphysical combat robots that seem to reach aggressively into the viewer’s space while simultaneously dissolving into abstract pieces and blending with the background. This traditional technique from the Renaissance is combined with the dynamic visual experience of VR game technology.

Their confusing perspectives challenge the audience’s habitual ways of looking frontally at a static painting by encouraging viewers to search for a fitting ‘point of view’ in the exhibition space, often from a covered position behind a column or around a corner—an ironic reenactment of the hyped virtual interactive gaming experience in analogue space.

2017
acrylic, enamel, marker, crayon, oil pastel on canvas
230 x 200 cm

perspective view, group exhibition “The Second Self“, Peres Projects, Berlin, 2017
__________________

The anamorphic paintings depict a group of bizarre, hyperphysical combat robots that seem to reach aggressively into the viewer’s space while simultaneously dissolving into abstract pieces and blending with the background. This traditional technique from the Renaissance is combined with the dynamic visual experience of VR game technology.

Their confusing perspectives challenge the audience’s habitual ways of looking frontally at a static painting by encouraging viewers to search for a fitting ‘point of view’ in the exhibition space, often from a covered position behind a column or around a corner—an ironic reenactment of the hyped virtual interactive gaming experience in analogue space.

2017
acrylic, enamel, marker, crayon, oil pastel on canvas
230 x 200 cm

perspective view, group exhibition “The Second Self“, Peres Projects, Berlin, 2017
__________________

The anamorphic paintings depict a group of bizarre, hyperphysical combat robots that seem to reach aggressively into the viewer’s space while simultaneously dissolving into abstract pieces and blending with the background. This traditional technique from the Renaissance is combined with the dynamic visual experience of VR game technology.

Their confusing perspectives challenge the audience’s habitual ways of looking frontally at a static painting by encouraging viewers to search for a fitting ‘point of view’ in the exhibition space, often from a covered position behind a column or around a corner—an ironic reenactment of the hyped virtual interactive gaming experience in analogue space.