The perception of nature and the city through digital devices takes us to unknown places and sharpens our eye for details. At the same time, the image is alienated by filters and viewing angles. Sometimes the filter version corresponds more to the sublime feeling we experience physically than the pale photographed reality. Perception decouples from reality and becomes subjective experience, leading to the creation of fantasy worlds in retelling and then sharing on social media. The development of artistic means, such as industrial highly complex materials or digital devices, influence the development of the artistic narrative, as well as the viewer’s perception.

Judith Kaminski’s artistic work plays with floral forms, bright colours and a formal image structure clearly defined by layers. The basis of her motifs are conventional botanical illustrations whose origins lie between natural science and art. Reduced to their form and arranged with colour gradients, grids and playful details, these illustrations become the subject of her pictorial world. In the process, habits of seeing from the digital realm, such as the arrangement of elements on displays or tools of digital processing, find influence in the colour and form design and the formal image structure.

Reflecting on our constructed landscapes and these insecure times caused by an evolutionary pandemic, Bram Braam has created some post-apocalyptic architectural ruins of our time. Many of the works are hybrid forms and can be interpreted ambivalently in all respects. Destruction and creation, nature and the artificial, architecture and the organic. The work shows a complex agglomeration where natural rock melts together with the remains of manmade industrial objects as a modern mutant from our time.

Inspiration for the work partly came from the urban environment in Berlin and the lifecycle of objects neglected on the streets. Often broken motorbikes are sitting for months in public spaces and every week you can see the decline is at a different stage, sometimes by the end there’s only a skeleton left. A metaphor of our daily existence and lifecycle. Bram Braam have used these leftovers from the motorbikes on the streets as a starting point, to let them evolve in the installation modern mutants.