What we love

Acrylic on canvas

60x60 cm

2025

What we do

Acrylic on canvas

60x60 cm

2025

What we get

Acrylic on canvas

60x60 cm

2025

Botticelli’s Venus stands in a rusty oil drum against a tropical beach backdrop. A turquoise sea, palm trees and a picture-postcard sky promise a holiday idyll, yet the foreground is littered with plastic waste. Venus, the symbol of beauty and birth, becomes an icon in an oil bath – half goddess, half victim of our fossil-fuel-dependent lifestyle. The title “All Inclusive” turns the language of the tourism industry against itself: the price also includes oil, rubbish and destroyed beaches. Picturesque seduction and ecological indictment intertwine; the image shows just how much we cling to the dream of paradise, even though its material foundations have long since been poisoned.

Van Gogh’s Sower strides across a parched field, yet above him a fiery sky blazes; the canvas is burnt and torn open in several places. Red and black ‘wounds’ gnaw their way into the mountains and the sky, as if the world were already charred. “Let me!” sounds like a final plea: to sow once more, as if there were a future. The painting confronts the classic symbol of hope and connection to nature with a landscape whose conditions have been irrevocably destroyed. Pictorial energy and the actual damage to the canvas intertwine to form a powerful metaphor for the futility of individual effort in the face of climate catastrophe.

Two red deer, in the style of Franz Marc, stand in a forest that consists now only of pale, skeletal tree trunks. The ground appears dry, the vegetation sparse; in the background, blue hills rise in terraces. The time-honoured myth of the ‘German forest’ appears here as a hollowed-out shell. Marc’s animals, once a symbol of a utopian unity between animal and nature, have become mere vestiges, without shelter or cover. The vivid colours of the deer clash with the desolation of their surroundings. The image shows how a culturally idealised view of nature is shifting in the age of the climate crisis – from a place of longing to a testament to structural destruction.

The central figure is taken from Jacques-Louis David’s famous painting *Napoleon 
Crossing the Alps*, in which the victorious 
commander, mounted on a rearing horse, 
heroically conquers the mountain pass. In this version, however, Napoleon does not ride through rugged high mountains, but straight into a towering wall of water. The pose remains the same: an upright posture, a red cloak, the air of unshakeable control. Yet the setting has changed radically – the triumphant crossing of the Alps has become a ride into climate catastrophe.  

The title “All According to Plan” reveals a biting irony. It sounds like the 
reassuring mantra of political and eco- 
nomic decision-makers who, even 
in the face of escalating crises, claim that 
everything is going according to plan. The appropriation of the Napoleonic image of power translates this pathos into the present: the historical myth of the sovereign, nature-conquering leader becomes image of a power that refuses to acknowledge its own powerlessness. Between David’s heroic icon and the crashing wave, a gap emerges, revealing that it is precisely this form of ‘planning’ and belief in progress that has led to catastrophe – and yet persists.

 The iconic Thinker no longer sits on 
his secure stone pedestal, but on 
the last melting ice floe in the middle of 
a mountain lake. Whilst the water’s surface shimmers in cool shades of blue and turquoise, the figure’s body glows an unnatural orange – as if thought itself were overheating. The alpine backdrop, traditionally a canvas for grandeur and untouched nature, is showing cracks: slashed mountain flanks reveal collaged layers reminiscent of meat’s innards. Here, the landscape appears as wounded skin and, at the same time, as a thin surface.

The sarcastic title “Don’t Worry, He’s 
Thinking” comments on the inaction 
in the face of ecological disaster. 
Thinking that is self-sufficient becomes a 
gesture of reassurance: one “ponders” 
the situation, whilst ice, mountains and 
bodies are already in the process of disintegrating. The work intertwines artistic reference, the climate crisis and visual critique: it depicts a world in which the 
grand gestures of contemplation come too late – and in which nature is now merely 
the thin, fragile surface of an overheated system.

 Manet’s picnic party sits in a sun-drenched wood, engrossed in a mundane conversation that appears as a thought bubble. Behind them, a massive torrent of water and mud is tearing through the forest, sweeping away chairs, fences and plants. The figures show no reaction; the phrase “No way – not us!” sums up their attitude. The image illustrates the gulf between the bourgeois comfort zone and real-world threat. At the same time, the thought bubbles undermine any remaining ‘high art’ pathos: the post-autonomist, decorative appropriation is stripped bare by everyday language. Climate catastrophe and the art world appear as two levels of the same mechanism of repression.

That's it !

Appropriation: The Wanderer Above the Sea of Clouds 
(Caspar David Friedrich) 

Oil on canvas

140 x 120 cm

2025

Caspar David Friedrich’s Wanderer stands on a reddish rock, yet instead of gazing out over a sea of mist, he looks out into space. Before him hovers a wounded planet, still recognisable as Earth, but scarred by zones of fire and devastation. The rest of the picture is deep black. At his feet stands a small red fire extinguisher – helpless in the face of the cosmic scale of the crisis. “That’s it!” feels like a bitter conclusion: no romantic retreat into nature, no technical solution, only the belated realisation of the extent of the destruction. The image concludes the cycle with a concentrated, laconic diagnosis of powerlessness and the end.