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“Not from Mont Pèlerin”
“42”
“Turkey”
“Predator”
“Siegfried”
“Der Sturz” (The Fall)
“Die Lösung” (The Solution)
“Drei” (Three)
“Dschungel” (Jungle)
“Kreidezeit” (Chalk Age)
“Leise” (Piano)
“Crispr”
“E-Werk”
“Beauty of the Beast”
“Chelsea Art Fairy”
“Hide-and-Seek”
“Farbnacht” (Night of Colors)
“Freaks”
“Harry”
“Der Ratgeber” (The Adviser)
“The Next”
“Il Principe”
“Let's Dance”
“Die Kitschpantoffeln” (The Kitschy Slippers)
“Großer Reformat” (The Big Reform Machine)
“Charlie's Empire”
“Wolkenburger Wäscheleinen” (Cloud Castle’s Clothes Lines)
“Wolken Malen” (Painting Clouds)
“Wolkenburger Land” (Cloud Castle’s Countryside)
“Captain”
“Night”
“Die Sächsinnen” (Saxonian Ladies)
“Der Schlangenprinz” (The Snake Prince)
“In the Year 2026”
“Making Nature”
“Wiener Mut” (Courageous Vienna)
“Jugend” (Youth)
“Erich”
“Self”
“Totem”
“Charlie's Empire”
“Charlie's Empire”
"Charlie's Empire" was created July 06 - Jan. 07 with "Painter"(Metacreations). It is ca. 50% based on a sketch 05-02-06 made while attending the lecture of Harvard historian Charles S. Maier at the WZB in Berlin.  Size: Paper: 76x56 cm, Picture: 50x36 cm Copies: 25, numbered and signed, and 5 artist's copies (I-V) Price: 475.‒ Euros Artist: Björn Dämpfling
Is there a new American “Empire”? That was the question talked about in this lecture and concentrating on this issue lead simultaneously to a paper drawing that was worked out to a high degree. The dynamics and rigor of this composition are surely fostered by the theme of this lecture as well its partially aggressive content that is not in the least accidental. On the other hand I only go for what’s visually consistent, stimulating and satisfying, which is to explain, why, in addition to the extensive work in detail later on with the PC, I also added a counteracting color scheme (e.g. gold and pink tints ), having in this case (different from “Il Principe”) no “ironic” touch to it. Yet it also does not come down to some kind of an “aesthetic of horror”, because I never “illustrate” thoughts. In describing my works in the way presented here I just want to give (hopefully) interesting contextual information, but never imply false causalities. The most intense striving of artists to show and foster the “good” quite often produces just utterly well meant artistic crap.