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Quadriptych Murdered Print

Oliver Plehn

Spain

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About The Artwork

This series is about Jewish women photographed by Hitler's personal photographer Hugo Jaeger before being killed. I was so shocked when I saw a documentary about the works of this and other German photographers, documenting the people which they were about to exterminate! As a German, I always felt horrified by our recent history and I need to read and watch historical documentaries. Why a quadriptych? Well, I always liked the medieval formats of triptychs, etc. used in modern contexts, for example, by painters like Otto Dix and Francis Bacon. I use them a lot as well, especially when I want to work on a smaller series. I usually use greater formats for portraits (in this series, each canvas is 60cm x 50cm), mostly 100cm x 100cm. But in this one, I wanted to use a more intimate format. This topic of Nazi victims is a really difficult task for me, it deeply touches and haunts me. And, of course, I needed to get this work done well. Every day I watched these four women, I studied her faces, I saw them smiling; of course, they did not know what was going to come... I know that I aim very high, when I want these unknown women not to be forgotten, but I hope, I did it right. A kind of homage, a kind of asking for forgiveness. And, of course, I did not want to represent them as victims, but as persons with all the dignity they deserve, more brides than victims. The next thing is to find the right home for them. Maybe some place fighting against anti-Semitism. A friend sent me a list of Holocaust memorials and museums. I do not know. The first thing was to create a powerful monument for them.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:8 W x 10 H x 0.1 D in

Size with Frame:13.25 W x 15.25 H x 1.2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Artist Statement As a chemist and artist, I am especially interested in what constitutes reality. Modern physics teaches us that absolute reality does not exist. An observer cannot explore reality from the outside, she has to get involved. Reality is relational, subjective, and the observer is an essential part of it. This is the conceptional background of all of my works. I aim to make deep contact with reality through an artistic approach that is direct, unfiltered, intense and unpremeditated. I do not want to paint what I know; I want to know what I paint. I do not intend to transmit feelings as an expressionist artist would do, but to provide a catalyst for the viewer to engage in a conversation. Life is not only mental and it is not only emotional, which is what led me to find an approach of fusion that I call “Catalysism”. We need all our senses and mental power to explore reality, but these are different in all human beings. So must be their conclusions and their perception of reality. This openness also explains the variety of reactions to my work. People often tell me that they feel attracted and disturbed at the same time. They conceive my work as very personal and extremely honest. But yet it is full of references to Art history, from cave painting to conceptional art.

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