About This Project

fractal cartography

Digital Drawings (vectorial),
Printing Method: Inkjet on handmade paper. Edition 5 (+1 Artist proof)
30 x 48 cm

Paper cutting is a folk art that was often done by women and was especially popular among other things, in Silesia. After the end of the 2nd World War and the expulsion originated in Germany, a market for nostalgic silhouettes, the idealized lost home and where the traumas of war and displacement did not occur. The silhouettes of artists such as Mary Louise Kaempffe were found in many living rooms, so even with my grandmother, surrounded by photos of my grandfather in uniform, who later became missing in Russia.

My parents, the generation of activists, the silhouettes looked skeptical. In the politically correct post-war Germany had the naive images that would have nothing to Auschwitz and Stalingrad, no place. Today, technology seems to be forgotten – or is treated purely aesthetic aspects.

The “fractals Cartographies” arise in this area of conflict. The technique of vector drawing permitted to copy endlessly, to enlarge and to deform and allows multiple viewing angles on a widerspüchliche region.

I draw maps (Germany, Poland and Silesia in the various limits), people, trees, war machine, barbed wire fences, flower ornaments and arrange them again and again. A fractal approach to history, in which the infinite versions always similar, without ever identical.
These text excerpts come (“drawn” with letters) that have shaped the collective memory of the German population after the war. Three perspectives are taken:

mythological (“There once was an evil king who had a large entourage”, loosely based on the Brothers Grimm)
psychological (“Auschwitz because since we are all guilty to the world,” Imre Kertesz)
philosophical (“disturbing themselves neither our own powerlessness even by the power of the other stupid”, Theodor Adorno)
historical (“is so far the German war guilt question clearly answered,” Fritz Fischer)
The story is told over and over again, without linearity, objective and definitive interpretation.

The number of frames is currently not set yet. Currently, there are 28 works (7 per text perspective)

Print on handmade paper (Hahnemühle Museum Etching 350 g)