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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”
“Il Principe”
“Il Principe”
"Il Principe" was created Jan. 07 - Sep. 07 with "Painter"(Metacreations). It is based on a paper sketch, date 10-30-06 (Lecture, Hertie School Berlin)  Print: Piezo-Print on Somerset Velvet Size: Paper: 76x56 cm, Picture: 52x36 cm Copies: 25, numbered and signed, and 5 artist's copies (I-V) Price: 475.‒ Euros Artist: Björn Dämpfling
Having one of the major works of Niccolo Machiavelli "Il Principe" (The Prince) in mind in order to find a title for this image, happened already during my working at this “Italian” piece, which is pretty unusual for me. Normally my work is finished, before a title comes to mind. Concerning the colors, the term “Terracotta” bounced around in my head, and this grotesque guy unites contradictory feelings and attributes just as the whole image does, merging in an aesthetic sense, yet in their origin representing quite different layers of content. Many images in one image, but not structured in space or grouped, but instead intrinsically interwoven. On the one hand this ruler “plant” with weaponry and loudspeaker is the dominant part of the image, therefore the ironic title in contrast with his rampant look. On the other hand there are many personal aspects, but for the viewer they can be perfectly attributed to the main figure and thus they enhance this “very special” homage of the prince.