Acrylic with powdered iron on canvas, 280cm x 150cm, *2020

i'm really excited about flooding a scene with information, but at the same time not revealing everything right away. This is one of the most complex hand-drawings I have created so far.

Sunday

I started working on this hand drawing in the first week of the lockdown in March. I was aiming for a “digital dystopia” -like topic in order to capture this time of uncertainty and the resulting polarization. Due to the advancing digitization, parts of society seem to get lost more and more in algorithms of confusing information. Especially in a time of lockdown, in which people get their impression of reality almost exclusively through a screen, with content suggested by personalized algorithms, can be very distracting for a society and therefore particularly disadvantageous in times of a pandemic.

Butterfly 2020

Acrylics on canvas, 140cm x 100cm, *2019 

This mixture of screen print and painting is part of a three-part series that also includes “Butterfly” and another large-format painting on canvas called “Sunday”. The drawing and the corresponding prints on canvas were created in 2019. The composition of the figures and colored fields should bring a certain rhythm into the picture and, together with the spatiality of the drawing, create a certain tension with the viewer. As if a bomb were exploding directly behind the viewer, dividing the whole sci-fi-like scenario into bright blue and white areas. Yet the picture is charged with silence. Figures as rigid as plastic soldiers wait for a signal. Directional receivers and war tubes are devices for the acoustic localization of sound sources that were used by several nations in the course of the First World War, before the invention of radar, for the passive detection of enemy aircraft and projectiles. However, for the most part not particularly successful. Undoubtedly history knows parallel and similar situations and the question arises again and again whether and how dark chapters could repeat themselves. This work could, among other things, be understood as an allegory of tension and waiting for the unknown or an invisible danger.

Distanz (Distance) 

Max Brenner and Nick Havelka picked up the theme homelessness. 
They worked because of corona situation separately on sketches for the painting, after some time when the restrictions were not that harsh anymore they chose to start work together and create kind of a whole co world which depict the feeling of homelessness and human misery. During the sketching process they decided to step back with their own style and decided to create for them completely new handwriting. In this 170 × 190 cm big painting one can see the total complexity and rich narrative of the circle of misery that many people end up in. The whole scene is supplemented with kinds creatures that represents the obstacles in the already exhausting fight. This painting was great inspirational experience for both artist. Painting on the same canvas at the same time, trying to feel and understand the possible correspondence between the scenes and their possible complement, figuring out how to convey the whole experience of homelessness. These were the key challenges for both the artists. 

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