a reviewal of motifs

edith urban places one beside the other, 4 copies of the feet of Jesus, nailed to the cross, making apparent by the fragmented form, the pain of the torture, which is lost in the anestheticized portayals of the whole body [christ on the cross]. the fact that the beholder looks through a sketchily drawn fence serves to emphasize and widen the scene. the conciliatory aspect of the holy version of the crucifixion retreats into the background, and the brutality of the actual nailing cannot be disguised. here too the widening, and, at the same time, digression from the model serves to make the picture relevant and not just a mere citation.

peter herbstreuth
[on the occasion of the lucas-cranach-prize 2003]