Amelie von Wulffen’s collages work like the labyrinthine chambers familiar from dreams. Using photographs as a point of departure, Wulffen paints over the images’ borders, extends lines into the far distance, and combines different views into kaleidoscopic montages of memory. As “real” as they seem from afar, once you get close the arrangements seem to collapse into fragments: Suddenly the anti-illusionism and impossible perspectives of the painted sections are revealed. This mini-retrospective starts with architectural collages from 1998 in which shards of ‘70s socialist architecture morph into futuristic agglomerations.
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