Artwork
Sad Angels“I hold you so that you will not fall – and if we fall, then we fall together.”
— freely after Rainer Maria Rilke
Technique:
Photography, computer modelling (no AI), composing
Inspiration: After a motif by Luis Royo
Sad Angels
Before the menacing background of rust-red glowing industrial architecture, its flanks torn by roaring waterfalls and skies ripped apart by lightning, two fallen beings kneel.
To the left, the demonic angel – his body exhausted, the dark, leathery wings scarred with deep fissures. Delicate, wire-like strands connect him to an unknown apparatus, as though he were still ensnared in a world of pain and oppression. His gaze is lowered, his body bowed – a figure radiating suffering and weariness.
Opposite him, the bright angel with mighty, silver-feathered wings. Naked, vulnerable, and yet brimming with strength, she enfolds the fallen one, draws him close, rests his head upon her shoulder. In this gesture lies a quiet eroticism – not desiring, but protective, a surrender to the moment of closeness.
Here, light touches darkness without judgment. Skin color, wing shapes, origins – all this loses its meaning. What remains is pure tenderness, creating an oasis of humanity in the midst of chaos.
A work about solace, devotion, and the universal longing for touch – even, or especially, in the eye of the storm.
Inspiration: After a motif by Luis Royo
Sad Angels
Before the menacing background of rust-red glowing industrial architecture, its flanks torn by roaring waterfalls and skies ripped apart by lightning, two fallen beings kneel.
To the left, the demonic angel – his body exhausted, the dark, leathery wings scarred with deep fissures. Delicate, wire-like strands connect him to an unknown apparatus, as though he were still ensnared in a world of pain and oppression. His gaze is lowered, his body bowed – a figure radiating suffering and weariness.
Opposite him, the bright angel with mighty, silver-feathered wings. Naked, vulnerable, and yet brimming with strength, she enfolds the fallen one, draws him close, rests his head upon her shoulder. In this gesture lies a quiet eroticism – not desiring, but protective, a surrender to the moment of closeness.
Here, light touches darkness without judgment. Skin color, wing shapes, origins – all this loses its meaning. What remains is pure tenderness, creating an oasis of humanity in the midst of chaos.
A work about solace, devotion, and the universal longing for touch – even, or especially, in the eye of the storm.
Sacrifice of an Angel“For beauty is nothing but the beginning of terror,
which we are still just able to endure,
and we admire it so,
because it serenely disdains to destroy us.”
quote from Rainer Maria Rilke, Duino Elegies, First Elegy
Technique:
Photography, digital painting
A powerful staged tableau full of contradictions: vulnerability and strength, devotion and violence, spirituality and corporeality condense into an image-act of archaic resonance.
At its center stands a naked man, bound to the wall, arms spread wide – a pose oscillating between crucifixion, offering, and ecstatic surrender. Opposite him kneels a woman in dark robes, one hand upon his skin, the other clutching a dagger. Her posture shifts between priestess, lover, and executioner. The light sculpts both bodies as if they were statues of flesh and shadow, accentuating tension and touch, while casting the space as both sacred and foreboding.
A seemingly incidental detail at the lower edge of the image unfolds profound symbolism: two little dark feathers – delicate, almost overlooked. It refers to the title and anchors the work within a mythic sphere: Is the bound figure a fallen angel? A divine being in the instant of his final becoming-human? The feathers thus becomes a silent witness of transformation – a sign of lost wings, a trace of transcendent past.
“Sacrifice of an Angel” tells not only of pain and power, but also of spiritual decline, of a transformation inscribed in body, gesture, and gaze. The photograph compels the viewer to confront archetypal images: victim and priestess, angel and human, light and shadow.
What remains is the question:
A powerful staged tableau full of contradictions: vulnerability and strength, devotion and violence, spirituality and corporeality condense into an image-act of archaic resonance.
At its center stands a naked man, bound to the wall, arms spread wide – a pose oscillating between crucifixion, offering, and ecstatic surrender. Opposite him kneels a woman in dark robes, one hand upon his skin, the other clutching a dagger. Her posture shifts between priestess, lover, and executioner. The light sculpts both bodies as if they were statues of flesh and shadow, accentuating tension and touch, while casting the space as both sacred and foreboding.
A seemingly incidental detail at the lower edge of the image unfolds profound symbolism: two little dark feathers – delicate, almost overlooked. It refers to the title and anchors the work within a mythic sphere: Is the bound figure a fallen angel? A divine being in the instant of his final becoming-human? The feathers thus becomes a silent witness of transformation – a sign of lost wings, a trace of transcendent past.
“Sacrifice of an Angel” tells not only of pain and power, but also of spiritual decline, of a transformation inscribed in body, gesture, and gaze. The photograph compels the viewer to confront archetypal images: victim and priestess, angel and human, light and shadow.
What remains is the question:
Is this an act of destruction – or of redemption?
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