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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”
“Totem”
“Totem”
"Totem" was created 50% on Paper (June 1978) and 50% using only Painter(Metacreations) August 1999.  Print: Digital Fine Art on Somerset Velvet Size: Paper: 40x30 cm, Picture: 32x24 cm Copies: 25, numbered and signed, and 5 artist's copies (I-V) Price: 300.‒ Euros Artist: Björn Dämpfling
Of all of my images "Totem" probably has the most peculiar and checkered history in terms of its creation. The basic materials used I don’t even recall, just that pencils were among them. The first image of the head then hung for fifteen years on the kitchen wall, yellowing and losing all color. To save it, I cut out the yellowed paper in pieces, glued them together again on a new piece of paper and restored some of the color especially the pupils with opaque white. Back to the wall and the same process of deterioration until I scanned the image in 1999 and worked out a new image with PC and “Painter”, always having in mind not make any of the former stages of its appearance go away completely. For this reason this description can still be understood by looking at the image. This includes that this head looked just “cut out”, not “embedded” as long as it stood out against a plain grey background. So it was not until 2006 that I got the idea of creating a background resembling the colors of the image, so that the “cut out” look and the visual “entrenchment” got into a balance I consider really satisfactory.